Active Reading of Visualizations

We investigate whether the notion of active reading for text might be usefully applied to visualizations. Through a qualitative study we explored whether people apply observable active reading techniques when reading paper-based node-link visualizations. Participants used a range of physical actions while reading, and from these we synthesized an initial set of active reading techniques for visualizations. To learn more about the potential impact such techniques may have on visualization reading, we implemented support for one type of physical action from our observations (making freeform marks) in an interactive node-link visualization. Results from our quantitative study of this implementation show that interactive support for active reading techniques can improve the accuracy of performing low-level visualization tasks. Together, our studies suggest that the active reading space is ripe for research exploration within visualization and can lead to new interactions that make for a more flexible and effective visualization reading experience

Design by immersion: A transdisciplinary approach to problem-driven visualizations

While previous work exists on how to conduct and disseminate insights from problem-driven visualization work and design studies, the literature does not address how to accomplish these goals in transdisciplinary teams in ways that advance all disciplines involved. In this paper we introduce and define a new methodological paradigm we call design by immersion, which provides an alternative perspective on problem-driven visualization work. Design by immersion embeds transdisciplinary experiences at the center of the visualization process by having visualization researchers participate in the work of the target domain (or domain experts participate in visualization research). Based on our own combined experiences of working on cross-disciplinary, problem-driven visualization projects, we present six case studies that expose the opportunities that design by immersion enables, including (1) exploring new domain-inspired visualization design spaces, (2) enriching domain understanding through personal experiences, and (3) building strong transdisciplinary relationships. Furthermore, we illustrate how the process of design by immersion opens up a diverse set of design activities that can be combined in different ways depending on the type of collaboration, project, and goals. Finally, we discuss the challenges and potential pitfalls of design by immersion

An approach to melodic segmentation and classification based on filtering with the Haar wavelet

We present a novel method of classification and segmentation of melodies in symbolic representation. The method is based on filtering pitch as a signal over time with the Haar-wavelet, and we evaluate it on two tasks. The filtered signal corresponds to a single-scale signal ws from the continuous Haar wavelet transform. The melodies are first segmented using local maxima or zero-crossings of ws. The segments of ws are then classified using the k–nearest neighbour algorithm with Euclidian and city-block distances. The method proves more effective than using unfiltered pitch signals and Gestalt-based segmentation when used to recognize the parent works of segments from Bach’s Two-Part Inventions (BWV 772–786). When used to classify 360 Dutch folk tunes into 26 tune families, the performance of the method is comparable to the use of pitch signals, but not as good as that of string-matching methods based on multiple features

Information dynamics: patterns of expectation and surprise in the perception of music

This is a postprint of an article submitted for consideration in Connection Science © 2009 [copyright Taylor & Francis]; Connection Science is available online at:http://www.tandfonline.com/openurl?genre=article&issn=0954-0091&volume=21&issue=2-3&spage=8

Studying large plainchant corpora using chant21

We present chant21, a Python package to support the plainchant formats gabc and Volpiano in music21, and two large corpora of plainchant. The CantusCorpus contains over 60,000 medieval melodies collected from the Cantus database, encoded in the Volpiano typeface. The GregoBaseCorpus contains over 9,000 transcriptions from more recent chant books in the gabc format. Chant21 converts both formats to music21, while retaining the textual structure of the chant: its division in sections, words, syllables and neumes. We present two case studies. First, we report evidence for the melodic arch hypothesis from the GregoBaseCorpus. Second, we analyze connections between differentiæ and antiphon openings in the CantusCorpus, and show that the systematicity of the connection can be quantified using an entropy-based measure

Variational Hilbert space truncation approach to quantum Heisenberg antiferromagnets on frustrated clusters

We study the spin-$\frac{1}{2}$ Heisenberg antiferromagnet on a series of finite-size clusters with features inspired by the fullerenes. Frustration due to the presence of pentagonal rings makes such structures challenging in the context of quantum Monte-Carlo methods. We use an exact diagonalization approach combined with a truncation method in which only the most important basis states of the Hilbert space are retained. We describe an efficient variational method for finding an optimal truncation of a given size which minimizes the error in the ground state energy. Ground state energies and spin-spin correlations are obtained for clusters with up to thirty-two sites without the need to restrict the symmetry of the structures. The results are compared to full-space calculations and to unfrustrated structures based on the honeycomb lattice.Comment: 22 pages and 12 Postscript figure

A Standardised Procedure for Evaluating Creative Systems: Computational Creativity Evaluation Based on What it is to be Creative

Computational creativity is a flourishing research area, with a variety of creative systems being produced and developed. Creativity evaluation has not kept pace with system development with an evident lack of systematic evaluation of the creativity of these systems in the literature. This is partially due to difficulties in defining what it means for a computer to be creative; indeed, there is no consensus on this for human creativity, let alone its computational equivalent. This paper proposes a Standardised Procedure for Evaluating Creative Systems (SPECS). SPECS is a three-step process: stating what it means for a particular computational system to be creative, deriving and performing tests based on these statements. To assist this process, the paper offers a collection of key components of creativity, identified empirically from discussions of human and computational creativity. Using this approach, the SPECS methodology is demonstrated through a comparative case study evaluating computational creativity systems that improvise music