1,721,008 research outputs found
Diagram ecologies − diagrams as science and game board
No full textThis book constitutes the refereed proceedings of the 7th International Conference on Theory and Application of Diagrams, Diagrams 2012, held in Canaterbury, UK, in July 2012. The 16 long papers, 6 short papers and 21 poster abstracts presented were carefully reviewed and selected from 83 submissions. The papers are organized in keynotes, tutorial, workshops, graduate student symposium and topical sections on psychological and cognitive issues, diagram layout, diagrams and data analysis, Venn and Euler diagrams, reasoning with diagrams, investigating aesthetics, applications of diagrams
Journal of Visual Languages and Computing: Special Issue on Diagram Aesthetics and Layout
Full text linkEdited journal special issue
Technology Enhanced Diagrams Research Workshop
No full textIt is an understatement to say that technology has enabled methodological innovations in diagram and spatial reasoning research. New technologies offer opportunities for recording data through video screen recordings; spatial navigation in real and virtual realities, visual attention monitoring, diagram activity on graphics tablets, and recording body position and gestures via position sensors and accelerometers.Whilst the rich data that these techniques yield offer exciting potential for research innovation, researchers face new methodological challenges due to its sheer volume and the challenge of triangulating data from multi-sources
Using shared displays to support group design; A study of the use of informal user interface designs when learning to program
Full text linkHand-drawn sketches have traditionally been used to depict design ideas because they are quick to draw and can include as much or little detail as is required to convey the essence of the ideas. Computer tools are now an alternative and offer advantages for editing, storing and transmitting designs. However, designers consistently reject using current computer tools because these tools interrupt the creative process. Various studies have supported the designer's position, consistently showing that traditional tools produce more and better design ideas.
This thesis describes the development and evaluation of a design-friendly computer tool that focuses specifically on the needs of the novice programmer who is designing user interfaces. From an extensive review of the literature on design, learning to programming and previous sketch tools we extracted the specifications for a tool that: compares favourably as a design medium with traditional tools such as the pen, paper and whiteboards, provides the editing and storage support expected of computer tools, helps students to gain a better understanding of programming problems and integrates seamlessly into a program development environment.
Freeform, the tool we have developed to these specifications, has had two iterations of development and usability testing. This tool is unique in that it: is integrated into a commercial program development environment, uses a digital whiteboard for interaction and includes character recognition. Using Freeform, students can both quickly hand-draw user interface designs and interact with the design while it is still rendered as a sketch. When satisfied with the design the student invokes the recognition engine. The sketch is then overlaid with recognition data. Any incorrect interpretations can be altered by the student. The student can then instruct Freeform to create the formal user interface in the program development environment. The translation of sketch glyphs to user interface widgets is achieved by parsing the sketch and recognition data with transformation rules.
We have conducted two evaluation studies using Freeform. The first study directly compared Freeform to a traditional alternative. We found that, although the design quality was similar, the students believed that when they were using Freeform they both understood the problem better and enjoyed the experience more. We noted during this study that the interactive checking available in Freeform prompted more changes to the designs than the static checking done on a standard whiteboard. In the second study, we asked students to check designs rendered as both sketches in Freeform and as formal diagrams in a user interface builder. The students made significantly more revisions to the Freeform sketches and therefore produced better designs from Freeform.
The usability tests and evaluation studies we have conducted suggest that computer-based low-fidelity design tools: can compete favourably with traditional tools as a design medium, offer better support for editing and storage, and may have advantages for checking over both traditional sketch mediums and formal interactive computer designs
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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