DOCSLIB.ORG

Ivolver: Interactive Visual Language for Visualization Extraction and Reconstruction Gonzalo Gabriel Mendez´ Miguel A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ivolver: Interactive Visual Language for Visualization Extraction and Reconstruction Gonzalo Gabriel Mendez´ Miguel A iVoLVER: Interactive Visual Language for Visualization Extraction and Reconstruction Gonzalo Gabriel Mendez´ Miguel A. Nacenta Sebastien Vandenheste University of St Andrews, UK University of St Andrews, UK University of St Andrews, UK [email protected] [email protected] [email protected] Rectangle 2.00 -2.00 A B C 0.00 400.00 D Figure 1. A) Data is extracted from a pie chart, B) converted into bars, and C) transformed into D) a log-scale bar-chart (see Motivating Scenario). ABSTRACT effort invested in visualization programming languages and We present the design and implementation of iVoLVER, a APIs (e.g., [5, 20, 35]), tools (e.g., MS Excel, Tableau, tool that allows users to create visualizations without textual ManyEyes [50]), and research prototypes (e.g., [12, 46]). programming. iVoLVER is designed to enable flexible acqui- However, many of the existing tools and systems assume that sition of many types of data (text, colors, shapes, quantities, the data is available in a digital structured format, that the dates) from multiple source types (bitmap charts, webpages, user can access the software when it is needed with the ap- photographs, SVGs, CSV files) and, within the same canvas, propriate input and output devices (e.g., keyboard for textual supports transformation of that data through simple widgets programming), or that the user has programming and debug- to construct interactive animated visuals. Aside from the tool, ging expertise. These assumptions make it harder for non- which is web-based and designed for pen and touch, we con- programmers to take advantage of infovis in certain situations tribute the design of the interactive visual language and wid- where textual programming is not possible or when the data gets for extraction, transformation, and representation of data. is not in the right format. We demonstrate the flexibility and expressive power of the tool through a set of scenarios, and discuss some of the chal- We present iVoLVER (interactive Visual Language for lenges encountered and how the tool fits within the current Visualization Extraction and Reconstruction), a prototype infovis tool landscape. tool designed to address the issues mentioned above. The tool aims to enable users to capture data from a range of sources Author Keywords and use these data to build visualizations that fit the users’ Information visualization; visual information extraction; own needs. For this purpose iVoLVER provides a novel set visual languages for visualization; visualization verification. of data extraction functions and widgets that enable one to ACM Classification Keywords pull data from bitmaps (with computer vision), SVGs, pho- H.5.2 Information interfaces and presentation: graphical user tographs, text and web pages. The data extracted can then be interfaces; D.1.7 Software: visual programming manipulated and combined through a touch-based web canvas that offers visually explicit representations of the data trans- INTRODUCTION formations. Information Visualization is often motivated as a way to This paper describes the following contributions: leverage the innate human visual processing capacity for the analysis of data [51]. Creating visualizations can enhance • The design of a novel tool and visual language to create the ability of users to explore, understand, and communi- alternative visualizations from varied data source types. cate data, as evidenced by the large number of projects and • The design and implementation of a set of novel widgets that extract data from varied data sources. • A discussion of scenarios that demonstrate how this ap- proach can be used in a range of situations. Copyright Owner/Authors 2016. This is the author’s version of the work. It is posted • A description of the challenges identified that can shed here for your personal use. Not for redistribution. The definitive Version of Record was published in the Proceedings of the SIGCHI Conference on Human Factors in light on the design and implementation of future tools. Computing Systems (CHI 2016), http://dx.doi.org/10.1145/2858036.2858435 In the next sections, we first provide a motivating scenario for and Simulink.2 This paradigm has also been used in re- the use of our tool. This is followed by a review of relevant search as a way to facilitate investigation and creation of work. Then, we describe the design principles and process performance-sensitive data processing algorithms [39]. and show iVoLVER’s main interface. Several scenarios of use are then demonstrated. We finish with a discussion of the More specific to visualization, GADGET/IV [15] and VAN- challenges, opportunities and lessons learnt for future tools in ISH [25] provide boxes and arrows programming interfaces this area of the design space. as a means to generate visualizations in a separate visual space. A more recent example is the visual IVO editor [31] MOTIVATING SCENARIO which makes visualization programming of image-space vi- Jacey is a professor at the fictional University of Lannisport, sualization operations for the GPU more accessible to non- working with her student, Manu, on a paper on world food programmers. iVoLVER takes a dataflow approach with an production. When Manu brings her the latest version of their infinite canvas inspired by visual programming. However, it paper Prof. Jacey is dismayed at seeing a pie-chart (see Fig- differs from most visual languages above in that the visual ure1.A), which she has learned is a poor way to represent data objects themselves are both controllers and representations due to humans’ inability to judge angles [10, 19]. Instead of of the data, with a focus on flexible input of data in multiple tearing the paper apart and sending Manu back to his desk to forms, and in that its web-based interface, which enables pen send her the data or re-do the image, she decides to take a and touch, supports use with a wider set of devices. more didactic approach. Prof. Jacey captures the image from the paper with her tablet’s camera and extracts each of the pie Visualization Tools sector areas, plugging them into the length of bars (B). This There is a current boom of tools oriented to simplify the vi- only took a few seconds, but it is enough to convince Manu sualization creation process and to make it accessible to non- that the barchart would be a better representation. Manu then programmers [16, 45]. It is in this category that we find the suggests that, as he has read recently in a statistical paper, per- work that is most related to iVoLVER. haps a logarithmic transformation of the data would provide The most popular tools for creating visualizations and charts a better view. Prof. Jacey is skeptical, but indulges Manu’s are commercial products such as MS Excel or visual analy- suggestion and applies a logarithmic function (C), plugging sis tools such as Tableau.3 Additionally, online systems such the transformed results into bars again (D). Very quickly they as Many Eyes [50] and Gapminder4 provide web-based ways both agree that the logarithm was not useful. to create visualizations, but also share the visualizations and RELATED WORK data through the web and support collaboration and com- The most powerful and flexible way to create visualizations ments. These tools facilitate the creation of visualizations is by programming them using either general graphical API’s without code, but tend to be more rigid and less expressive (such as OpenGL) or, more effectively, by using specialized than programming languages. This is mostly due to the use visualization languages and APIs such as D3 [5], Process- of specific templates, which limit the choice of possible vi- ing [35], the Prefuse API [20] or APIs for deployment in spe- sualizations to a preloaded set and make the data representa- cific types of environments (e.g., ubicomp environments [1]). tions somewhat monolithic. Additionally, the large number of However, textual programming demands a specific kind of features results in overloaded traditional-style interfaces with environment (appropriate text input, large screens) and re- large amounts of hidden data and processing steps that might quires a significant time and effort to learn, which is why a not be obvious to the user. large literature of work in visual programming and visualiza- This approach has been recognized as limiting by a recent tion tools exist. In the subsections below we summarize the wave of research that has produced tools to address this rigid- legacy of visual programing and visualization tools that form ity in different ways. For example, Javed and Elmqvist ad- the conceptual base of our system. dress the issue that current tools do not provide an adequate Visual Programming Languages representation of the analysis process and built an infinite The idea that visual representations or diagrams—rather than canvas with exploration plates which can be interconnected text or lists of instructions—can facilitate the understand- and annotated in a pen-based environment [24]. Some of ing and creation of programs or make them accessible to the philosophy in this system can be traced to previous work non-programmers is several decades old. Many successful in the DataMeadow system [12], which also uses an infi- projects and products rely on visual elements to represent pro- nite canvas but for the analysis of large-scale multivariate gram structures. A notable example is Scratch [37] (inspired data. Lyra [41], iVisDesigner [36], and Bret Victor’s Drawing by previous work by Seymour Papert [33]), which provides Dynamic Visualizations tool (demonstrated in his presenta- visual support for teaching and learning programming. Sev- tion [49]) all enable the construction of flexible custom visu- eral surveys of the general area of visual programming lan- alizations. iVoLVER shares multiple elements (e.g., infinite guages exist [4, 21, 32].
Load more

Recommended publications
  • Course Team NATIONAL OPEN UNIVERSITY of NIGERIA
    COURSE GUIDE COURSE GUIDE FMC 212 VISUAL LANGUAGE OF FILM Course Team Dr. Angela Nkiru Nwammuo (Course Developer/Writer) - Chukwuemeka Odumegwu Ojukwu University Chuks Odiegwu – Enwerem (Course Coordinator) - NOUN NATIONAL OPEN UNIVERSITY OF NIGERIA 1 © 2021 by NOUN Press National Open University of Nigeria Headquarters University Village Plot 91, Cadastral Zone Nnamdi Azikiwe Expressway Jabi, Abuja Lagos Office 14/16 Ahmadu Bello Way Victoria Island, Lagos e-mail: [email protected] URL: www.nou.edu.ng All rights reserved. No part of this book may be reproduced, in any form or by any means, without permission in writing from the publisher. Printed: 2021 ISBN: 978-978-058-061-2 2 CONTENTS Introduction Intended Learning Outcomes Study Units Textbooks and References Self-Assessment Exercise Final examination and Grading Course Modules/Units What You will Need in the Course Facilitators/Tutors and Tutorials Conclusion Summary 3 INTRODUCTION You are welcome to FMC 212 - Visual Language of Film. This course is designed for communication students in the Faculty of Social sciences. It is designed to help you acquire detailed knowledge of visual communication. After going through this course, you would be able to master the art of making use of all forms of visual communication. You will also be equipped with the knowledge needed to work in different sectors where the skills of visual communicators are needed. This Course Guide provides you with the necessary information about the contents of the course and the materials you need to be familiar with for a proper understanding of the subject matter. It also provides you with the knowledge on how to undertake your assignments.
    [Show full text]
  • Visual Literacy of Infographic Review in Dkv Students’ Works in Bina Nusantara University
    VISUAL LITERACY OF INFOGRAPHIC REVIEW IN DKV STUDENTS’ WORKS IN BINA NUSANTARA UNIVERSITY Suprayitno School of Design New Media Department, Bina Nusantara University Jl. K. H. Syahdan, No. 9, Palmerah, Jakarta 11480, Indonesia [email protected] ABSTRACT This research aimed to provide theoretical benefits for students, practitioners of infographics as the enrichment, especially for Desain Komunikasi Visual (DKV - Visual Communication Design) courses and solve the occurring visual problems. Theories related to infographic problems were used to analyze the examples of the student's infographic work. Moreover, the qualitative method was used for data collection in the form of literature study, observation, and documentation. The results of this research show that in general the students are less precise in the selection and usage of visual literacy elements, and the hierarchy is not good. Thus, it reduces the clarity and effectiveness of the infographic function. This is the urgency of this study about how to formulate a pattern or formula in making a work that is not only good and beautiful but also is smart, creative, and informative. Keywords: visual literacy, infographic elements, Visual Communication Design, DKV INTRODUCTION Desain Komunikasi Visual (DKV - Visual Communication Design) is a term portrayal of the process of media in communicating an idea or delivery of information that can be read or seen. DKV is related to the use of signs, images, symbols, typography, illustrations, and color. Those are all related to the sense of sight. In here, the process of communication can be through the exploration of ideas with the addition of images in the form of photos, diagrams, illustrations, and colors.
    [Show full text]
  • Defining Visual Rhetorics §
    DEFINING VISUAL RHETORICS § DEFINING VISUAL RHETORICS § Edited by Charles A. Hill Marguerite Helmers University of Wisconsin Oshkosh LAWRENCE ERLBAUM ASSOCIATES, PUBLISHERS 2004 Mahwah, New Jersey London This edition published in the Taylor & Francis e-Library, 2008. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Copyright © 2004 by Lawrence Erlbaum Associates, Inc. All rights reserved. No part of this book may be reproduced in any form, by photostat, microform, retrieval system, or any other means, without prior written permission of the publisher. Lawrence Erlbaum Associates, Inc., Publishers 10 Industrial Avenue Mahwah, New Jersey 07430 Cover photograph by Richard LeFande; design by Anna Hill Library of Congress Cataloging-in-Publication Data Definingvisual rhetorics / edited by Charles A. Hill, Marguerite Helmers. p. cm. Includes bibliographical references and index. ISBN 0-8058-4402-3 (cloth : alk. paper) ISBN 0-8058-4403-1 (pbk. : alk. paper) 1. Visual communication. 2. Rhetoric. I. Hill, Charles A. II. Helmers, Marguerite H., 1961– . P93.5.D44 2003 302.23—dc21 2003049448 CIP ISBN 1-4106-0997-9 Master e-book ISBN To Anna, who inspires me every day. —C. A. H. To Emily and Caitlin, whose artistic perspective inspires and instructs. —M. H. H. Contents Preface ix Introduction 1 Marguerite Helmers and Charles A. Hill 1 The Psychology of Rhetorical Images 25 Charles A. Hill 2 The Rhetoric of Visual Arguments 41 J. Anthony Blair 3 Framing the Fine Arts Through Rhetoric 63 Marguerite Helmers 4 Visual Rhetoric in Pens of Steel and Inks of Silk: 87 Challenging the Great Visual/Verbal Divide Maureen Daly Goggin 5 Defining Film Rhetoric: The Case of Hitchcock’s Vertigo 111 David Blakesley 6 Political Candidates’ Convention Films:Finding the Perfect 135 Image—An Overview of Political Image Making J.
    [Show full text]
  • Otto Neurath, Isotype Picture Language and Its Reflections on Recent Design
    The Online Journal of Communication and Media – July 2015 Volume 1, Issue 3 OTTO NEURATH, ISOTYPE PICTURE LANGUAGE AND ITS REFLECTIONS ON RECENT DESIGN Banu İnanç Uyan Dur TOBB University of Economics & Technology, Faculty of Fine Arts Design & Architecture, Department of Visual Communication Design, Ankara / Turkey [email protected] Abstract: Sign systems, consist of symbols and pictograms, has a great role in rapidly developing recent technological systems, complicating city life, mutually understanding of people from different cultures and languages. Signs, symbols and pictograms, which are having functions like informing, directing and forming a vernacular, have the aim of providing an universal communication that can be understand by all people despite the language, culture and religion differences. Otto Neurath's ISOTYPE picture language, which is trying to form "a wordless global language", is an important milestone while considering much rapid and effective communication need and the process about developing an easy and universal visual communication system without any needs of words. The aim of this graphic language, which is formed with simple pictograms, is to communicate easily without any needs of knowing any language with removing the borders between cultures and languages. Simple pictograms system, used by Otto Neurath in ISOTYPE, is pioneering the modern data visulization and information graphics as presenting the complicated statistical data in simple graphic forms. Pictograms and data visualizations, prepared by Otto Neurath in social, political, economical, healthcare and education topics are the first ones in this field and also directing more than effecting the pictograms, data visualizations and information graphics in recent visual communication design scope.
    [Show full text]
  • A Visual Retrieval Environment for Hypermedia Information Systems
    3 H<W DIREZIONE STUDI E RICERCHE Relaz. n° UTI/RM 11-1 CENTRO RICERCA Dl AUTOMATICA Rapp. n° 472/96 Sacielri per nzioni Units tecnologie dell’lnformazione ENEL-ZRfii-UTX/m-'}\-l Dario Lucarella - Antonella Zanzi A VISUAL RETRIEVAL ENVIRONMENT FOR HYPERM ED IA INFORMATION SYSTEM ACM TRANSACTION ON INFORMATION SYSTEMS January, 1996 WASTER Marzo 1996 3N OF THIS DOCUMENT IS UNLIMITED FOREIGN SALES PROHIBITED OQ DISCLAIMER Portions of this document may be illegible in electronic image products. Images are produced from the best available original document. A Visual Retrieval Environment for Hypermedia Information Systems DARIO LUCARELLA and ANTONELLA ZANZI Centro Ricerca di Automatica, ENEL We present a graph-based object model that may be used as a uniform framework for direct manipulation of multimedia information. After an introduction motivating the need for abstrac­ tion and structuring mechanisms in hypermedia systems, we introduce the data model and the notion of perspective, a form of data abstraction that acts as a user interface to the system, providing control over the visibility of the objects and their properties. A perspective is defined to include an intension and an extension. The intension is defined in terms of a pattern, a subgraph of the schema graph, and the extension is the set of pattern-matching instances. Perspectives, as well as database schema and instances, are graph structures that can be manipulated in various ways. The resulting uniform approach is well suited to a visual interface. A visual interface for complex information systems provides high semantic power, thus exploiting the semantic expressibility of the underlying data model, while maintaining ease of interaction with the system.
    [Show full text]
  • Download This PDF File
    Media and Communication Open Access Journal | ISSN: 2183-2439 Volume 5, Issue 4 (2017) VisualVisual CommunicationCommunication inin thethe AgeAge ofof SocialSocial Media:Media: Conceptual,Conceptual, TheoreticalTheoretical andand MethodologicalMethodological ChallengesChallenges Editors Uta Russmann and Jakob Svensson Media and Communication, 2017, Volume 5, Issue 4 Visual Communication in the Age of Social Media: Conceptual, Theoretical and Methodological Challenges Published by Cogitatio Press Rua Fialho de Almeida 14, 2º Esq., 1070-129 Lisbon Portugal Academic Editors Uta Russmann, FHWien der WKW University for Applied Sciences of Management & Communication, Austria Jakob Svensson, Malmö University, Sweden Editors-in-Chief Epp Lauk, University of Jyväskylä, Finland Raul Reis, Emerson College, USA Available online at: www.cogitatiopress.com/mediaandcommunication This issue is licensed under a Creative Commons Attribution 4.0 International License (CC BY). Articles may be reproduced provided that credit is given to the original and Media and Communication is acknowledged as the original venue of publication. Table of Contents Introduction to Visual Communication in the Age of Social Media: Conceptual, Theoretical and Methodological Challenges Uta Russmann and Jakob Svensson 1–5 Brand New Images? Implications of Instagram Photography for Place Branding Åsa Thelander and Cecilia Cassinger 6–14 Political Storytelling on Instagram: Key Aspects of Alexander Van der Bellen’s Successful 2016 Presidential Election Campaign Karin Liebhart and
    [Show full text]
  • A Tool to Support Multiple Visual Languages for Distributed Software Development on the Web
    A Tool to Support Multiple Visual Languages for Distributed Software Development on the Web Roberto Kremer Software Engineering Research Network, University of Calgary, Canada {robertof, kremer } @cpsc.ucalgary.ca Abstract Concept mapping is a simple and intuitive visual form of knowledge representation. Concept maps can be categorized as informal or formal, where the latter is characterized by implementing a semantics model constraining their components. Software engineering is a domain that has successfully adopted formal concept maps to visualize and specify complex systems. Automated tools have been implemented to support these models although their semantic constraints are hard- coded within the systems and hidden from users. This paper presents the Constraint Graphs and jKSImapper systems. Constraint Graphs is a flexible and p owerful graphical system interface for specifying concept mapping notations. In addition, jKSImapper is a multi-user concept mapping editor for the Internet and the World Wide Web. Together, these systems aim to support user-definable formal concept mapping notations and distributed collaboration on the Internet and the World Wide Web. 1. Introduction A multi-user distributed concept mapping tool would allow software engineers to collaborate at a distance using This paper is about formal concept m apping and familiar, visual notations in a shared, real-time, distributed concept mapping collaboration. Concept maps interactive graphical workspace. Furthermore, familiar are a common form of visual language used pervasively notations could be e asily extended to encompass new in a wide variety of applications. Concept m ap editors concepts as new requirements arise. may implement concept m apping formalisms, which constrain construction of the concept maps to conform to 2.
    [Show full text]
  • Visual Language: the Concept and Applications for the Classroom
    VISUAL LANGUAGE: THE CONCEPT AND APPLICATIONS FOR THE CLASSROOM JOHN D. MALCOLM B.Ed., University of Lethbridge, 1986 A One-Credit Project Submitted to the Faculty of Education Of The University of Lethbridge In Partial Fulfillment of the Requirements for the Degree MASTER OF EDUCATION LETHBRIDGE,ALBERTA DECEMBER, 1998 ABSTRACT This completed project is the largest step in a 10-year process during which I have studied and implemented visual language. In Chapter 1, I outline the reasons for my focus on this topic and discuss my personal viewpoints and background. A brief rationale for this topic is then suggested, followed by a review ofthe literature. Although a fmite definition of visual language is neither possible nor desirable, a working defmition is offered based on my work to this point. Relevance to classroom practice is crucial so a close examination of the Senior High English Statement of Content (Revised 1981) and the Alberta Education Program ofStudies for English Language Arts Kindergarten to Grade 9 is also undertaken. The second chapter ofthe project contains suggestions for classroom application based on these curricular and philosophical underpinnings in a user friendly format. Look Closer is designed as a teacher guide to studying visual language. The steps are not intended as lesson plans per se but rather as activity sequences. Its theoretical base comes from a visual language standpoint, since that is the avenue I am advocating students explore, but it also includes many activities from each ofthe language arts (formerly known as strands). In fact, this unit encompasses all language arts at various times.
    [Show full text]
  • Building Hypertext in the Elementary School Art Classroom: an Integrated Approach to Learning and Curriculum
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 Building Hypertext in the Elementary School Art Classroom: An Integrated Approach to Learning and Curriculum Talitha Church Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Art Education Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1448 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. OTalitha A. Church 2005 All rights reserved. BUILDING HYPERTEXT IN THE ELEMENTARY SCHOOL ART CLASSROOM: AN INTEGRATED APPROACH TO LEARNING AND CURRICULUM A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art Education Virginia Commonwealth University Talitha A. Church Bachelor of Fine Arts, University of North Florida, 1995 Director: Dr. Pamela G. Taylor Associate Professor and Chair, Department of Art Education Virginia Commonwealth University Richmond, Virginia December, 2005 ACKNOWLEDGMENTS The author wishes to thank several people. I would like to thank Dr. Pam Taylor for her patience, guidance and inspiration. I would like to thank Dr. Steve Carpenter for making me want to become a teacher. I would like to thank my husband, Shea for understanding and supporting me in this endeavor. I would also like to extend a special thanks to my students for their constant energy, effort, and inspiration. iii TABLE OF CONTENTS .. ACKNOWLEDGEMENTS .........................................................................ii LIST OF FIGURES ..................................................................................v ABSTRACT ..........................................................................................vi Chapter 1.
    [Show full text]
  • Text-To-Viz: Automatic Generation of Infographics from Proportion-Related Natural Language Statements
    Text-to-Viz: Automatic Generation of Infographics from Proportion-Related Natural Language Statements Weiwei Cui, Xiaoyu Zhang, Yun Wang, He Huang, Bei Chen, Lei Fang, Haidong Zhang, Jian-Guan Lou, and Dongmei Zhang More than 20% of smartphone users are social network users OF SMARTPHONE USERS More than 20% of More than MORE THAN ARE SOCIAL NETWORK smartphone users are USERS of smartphone users 20% social network users 20% are social network users (a) (b) (c) (d) 3 IN 5 65% 40% Chinese people live in rural areas 65% 3 in 5 40% Chinese people USA freshwater live in rural areas of coffee is consumed at of coffee is of USA freshwater is for agriculture is for agriculture breakfast consumed at breakfast (e) (f) (g) (h) (i) (j) ONLINE TRAFFIC AMONG ALL STUDENTS Among all students AMONG ALL STUDENTS Online Traffic Like football 51.5% Humans Like football 49% Like football Like basketball Like baseball 51.5% Humans 19.5% Good bots Like basketball 33% Like basketball 19.5% Good bots 49% 33% 21% 29% Bad bots Like baseball 21% Like baseball 29% Bad bots (k) (l) (m) (n) (o) Figure 1. Examples created by Text-to-Viz. (a)-(d) are generated from the statement: “More than 20% of smartphone users are social network users.” (e) and (f) are generated from the statement: “40 percent of USA freshwater is for agriculture.” (g) and (h) are generated from the statement: “3 in 5 Chinese people live in rural areas.” (i) and (j) are generated from the statement: “65% of coffee is consumed at breakfast.” (k)-(m) are generated from the statement: “Among all students, 49% like football, 32% like basketball, and 21% like baseball.” (n) and (o) are generated from the statement: “Humans made 51.5% of online traffic, while good bots made 19.5% and bad bots made 29%.” Abstract— Combining data content with visual embellishments, infographics can effectively deliver messages in an engaging and memorable manner.
    [Show full text]
  • Investigating Visual Languages for Argument Mapping
    Investigating Visual Languages for Argument Mapping Neil Benn Ann Macintosh Institute of Communication Studies Institute of Communication Studies University of Leeds University of Leeds LS2 9JT, United Kingdom LS2 9JT, United Kingdom +44 (0)113 343 8859 +44 (0)113 343 8859 [email protected] [email protected] ABSTRACT visual language for depicting argumentation. In this regard, our In this paper, we suggest that one of the main challenges facing current research will take as a starting point the contributions of tools for mapping and visualizing argument structures is the [2] who investigated the use of visual languages for rendering usability and readability of the visualizations themselves. discourse relations in hypertext. Using this and other related Motivated by this challenge, this paper argues for more work into work, we will attempt to derive a set of visual principles that designing visual languages for argument mapping, with suitable cover what is needed to visually depict argumentation. This cues for helping the user to read and understand arguments, in research will be conducted within the setting of a particular much the same way that natural language has evolved linguistic research project, which we describe briefly at the end of the paper. cues to help readers understand narrative structure and make sense The next section describes our preliminary investigation in this of a piece of text. The paper then presents a particular project that area. provides an experimental setting for investigating suitable visual languages for argument mapping. The project aims to facilitate 2. INVESTIGATING SPATIAL AND online deliberation, which involves helping users to understand CINEMATIC HYPERTEXT and reflect on where their considered opinions lie within a deliberation-narrative space.
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF BUSINESS, LAW AND ART School of Business Repertory Grid Technique: A Pragmatic Approach to Evaluating User Experience in Visualisation Navigation by Azira Ab Aziz Thesis for the degree of Doctor of Philosophy September 2016 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF BUSINESS, LAW AND ART School of Business Thesis for the degree of Doctor of Philosophy REPERTORY GRID TECHNIQUE: A PRAGMATIC APPROACH TO EVALUATING USER EXPERIENCE IN VISUALISATION NAVIGATION Azira Ab Aziz The aim of this study is to evaluate user experience of visualisation navigation by adopting a pragmatic approach. A pragmatic approach with the adoption of Repertory Grid Technique (RGT) reveals a different side of visualisation evaluation. Visualisation in past research has been studied through different theoretical lenses, discussed here under four headings: human cognition; technology interventions; data and information; and evaluation behaviours.
    [Show full text]