The article examines the place of graphic design in modern post-industrial society, extending beyond purely applied art and aspiring to play the role of an expert in the interiors of human existence, determining the social and cultural status of an individual. It is argued that graphic design, organically integrating into contexts and actively responding to the challenges of such a social-decorative phenomenon as fashion, plays a significant role in shaping taste culture. This attests to the multiplicity (...) of ambivalent cultural manifestations of graphic design. Special attention is given to identifying the functional potential of graphic design in creating cross-cutting trends that, through non-verbal means of communication, can form and maintain social and cultural unity. In connection with this, an analysis of graphic design is carried out through the prism of philosophical communication, allowing the identification of graphic design as the most effective practice of nonverbal communication and information visualization in post-industrial society. It is determined that graphic design is capable not only of generating new meanings but also of creating communicative gaps. Given this specificity, the article particularly focuses on identifying the educational and upbringing potential of graphic design. It is demonstrated that the process of creating visual images and their subsequent interpretation by consumers of graphic information depends not only on the aesthetic taste, ethical beliefs, and humanistic orientation of the designer (visualizer) but also on their educational and upbringing potential. The necessity of strengthening humanistic orientations in modern Ukrainian design and art education is emphasized. (shrink)

Fractal art graphics are the product of the fusion of mathematics and art, relying on the computing power of a computer to iteratively calculate mathematical formulas and present the results in a graphical rendering. The selection of the initial value of the first iteration has a greater impact on the final calculation result. If the initial value of the iteration is not selected properly, the iteration will not converge or will converge to the wrong result, which will affect the accuracy (...) of the fractal art graphic design. Aiming at this problem, this paper proposes an improved optimization method for selecting the initial value of the Gauss-Newton iteration method. Through the area division method of the system composed of the sensor array, the effective initial value of iterative calculation is selected in the corresponding area for subsequent iterative calculation. Using the special skeleton structure of Newton’s iterative graphics, such as infinitely finely inlaid chain-like, scattered-point-like composition, combined with the use of graphic secondary design methods, we conduct fractal art graphics design research with special texture effects. On this basis, the Newton iterative graphics are processed by dithering and MATLAB-based mathematical morphology to obtain graphics and then processed with the help of weaving CAD to directly form fractal art graphics with special texture effects. Design experiments with the help of electronic Jacquard machines proved that it is feasible to transform special texture effects based on Newton's iterative graphic design into Jacquard fractal art graphics. (shrink)

A graphic means of representing deductive proofs in a sentential system of symbolic logic is presented. Proof construction is characterized as a domain of the cognitive theory of problem solving, and three different interface designs for supporting the working backwards method of proof construction are demonstrated. Following a description of the rule set and the working backwards method, an analysis is given of student performance data that has guided interface development during the past two years. One interface design (...) is shown to be superior to the others in respect to working backwards. Finally, some general conclusions are drawn concerning the relevance of instructional programs for empirically documenting student difficulties and for improving interface designs. (shrink)

There are no established conventions for, and few examples of, indexing visual material on the basis of its form. Most image databases use keywords to describe the form or function, and access data by text-based retrieval of these keywords. An image-based approach would order the data by appearance, e.g. Shepherd (1971) and Dreyfuss (1972). A taxonomy must be created in order to apply this technique to a new data set. Previous applications have been aided by certain limiting factors on the (...) possible range of images indexed thus providing the key to a taxonomy, e.g. international pictorial signs in Dreyfuss. A fundamental principle which may be inferred from these studies is that the taxonomy needs to be related to the needs of the user, and not solely to abstract features of design. This is reflected in guidelines issued by the UK organisation The Society of Indexers. The studies also suggest the need for several approaches to classification within the same data set, e.g Dreyfuss, in which signs are located under more than one heading. (shrink)

Peter Spirtes, Clark Glymour, Richard Scheines, Christopher Meek, S. Fineberg, E. Slate. Prediction and Experimental Design with Graphical Causal Models.

The subject of the study is the process of many aspects of audiovisual creativity that must be taken into account when creating a video. The object of the work is to create a movie trailer through the use of design elements and graphics in the video sequence. The study examines the trailer of a post-apocalyptic fantasy genre called "Genesis", in which the two main characters are depicted as opposites. The work examines and describes in detail all the stages of (...) creating a video trailer for the film, including visual representation, audio accompaniment of the video sequence. The paper notes that the main goal of all the stages of trailer development considered in the article is to create an audiovisual project of professional quality. The main methods used in the study are visual effects modeling and 3D modeling in Houdini, creating realistic matte paintings in Photoshop and video compositing in Nuke. The main conclusions of the study are those specialized programs that allow you to create a high-quality author's product. This software will become the core of the project, since it is in it that all the elements will be combined into one final clip due to the high-quality integration of various objects of the scene. The novelty of the research lies in the fact that within the framework of the work, the characteristics of the possibilities of working with various video editors and graphic programs were carried out, which together help the creators of movie trailers and other similar products to realize the tasks of entertainment and quality of the projects produced. (shrink)

Reporting systems based on mobile technologies and feedback from regular citizens are becoming increasingly popular, especially as far as protection of environmental and cultural heritage is concerned. Reporting life-threatening situations, such as sudden natural disasters or traffic accidents, belongs to the same class of problems and could be aided by IT systems of a similar architecture. Designing and developing systems for reporting life-threatening situations is not a trivial task, requiring close cooperation between software developers and experts in different domains, who (...) could possibly find industrially recognized languages and notations difficult. Thus, the question is whether using simplified graphical domain-specific languages (SGDSLs) could help in creating a common communication platform. It has been revealed that domain experts have a preference for such languages as they offer good learnability, readability and ability to focus on the idea of application. The perspective of developers (technical persons) is introduced on the basis of feedback obtained from 84 students of Computer Science at the Lublin University of Technology, who attended comprehensive workshops followed by an anonymous survey. All participants received theoretical and practical training in modeling mobile software using the same set of languages as domain experts. An analysis of the results revealed that opinions expressed by technical and nontechnical persons concerning SGDSLs oriented on defining a flow of actions is consistent. Most respondents claimed that such languages might be valuable as tools for creating a common communication platform. (shrink)

The article is devoted to the little-studied component of architectural creativity - architectural graphics. At the same time, the purpose of the article is three-dimensional: to consider the categorical, historical and postmodern problems of architectural graphics, which will allow to outline a holistic picture of this cultural phenomenon. The article uses the methods of typological, historical and synchronous-cult analysis of both specific architectural artifacts and trends in the development of architectural graphics in general. It has been proven that architectural graphics, (...) as a unique type of graphics, are a means of expressing the creative ideas of an architect. They define, define and correct the direction of his professional searches. Graphics influence the creativity of a design as it serves as a graphical visualization of an architecture. Architectural graphics are the line between the design calculation and the creative imagination of the author. He performs artistic and engineering tasks at the same time. The article deals with the problem of architectural graphics as a specific creative activity, which, as a result of historical development, has formed into a separate genre direction. A number of conceptual and terminological issues are touched upon, including the definition of the very concept of «architectural graphics». The priority features of architectural graphics and variants of its stylistic solutions by different architects and designers have been identified. (shrink)

Scientists’ graphical practices have recently become a target of inquiry in the philosophy of science, and in the cognitive sciences. Here I supplement our understanding of graphical practices via a case study of how researchers crafted the graphics for scientific publication in the field of circadian biology. The case highlights social aspects of graphical production which have gone understudied e especially concerning the negotiation of publication. I argue that it also supports a challenge to the claim that empirically-informed “cognitive (...) class='Hi'>design principles” offer an apt understanding of the norms of success which govern good scientific graphic design to communicate data and hypotheses to other experts. In this respect, the case-study also illustrates how “descriptive” studies of scientific practice can connect with normative issues in philosophy of science, thereby addressing a central concern in recent discussions of practice-oriented philosophy of science. (shrink)

Curricular design that addresses residency physician competencies in communication skills and professionalism remains a challenge. Graphic Medicine uses comics, a medium combining text and images, to communicate healthcare concepts. Narrative Medicine, in undergraduate medical education, has limited reported usage in Graduate Medical Education. Given the time constraints and intensity of GME, we hypothesized that comics as a form of narrative medicine would be an efficient medium to engage residents.The authors created a novel curriculum to promote effective communication and (...) professionalism, focusing on empathy, compassion and cultural competency. A four-week curriculum was delivered in a neurology residency program. Excerpts from non-fiction graphic memoirs about neurological conditions were read, discussed, and paired with prompt-driven drawing exercises. Qualitative surveys were used to assess acceptability of comics, usefulness of comics to convey patient illness experience, and perception of patient needs for physician-patient communication.Ninety-seven percent of residents reported the sessions were a good use of their time. Residents identified new symptoms of neurologic disorders, articulated patient communication needs, and expressed increased empathy after participation. Residents participated in drawing exercises, but these were not formally analyzed. Graphic medicine is a well received format that may build communication skills and increase empathy. (shrink)

O Projeto de Pesquisa realizado através do NIQ – Núcleo de Ilustrações e Quadrinhos, pelo Centro de Estudos em Design da Imagem da UEMG – UNIVERSIDADE DO ESTADO DE MINAS GERAIS, tem a pretensão de incentivar alunos da Escola Municipal Secretário Humberto de Almeida em Belo Horizonte-Minas Gerais-Brasil a comunicar a cultura brasileira, em especial às raízes culturais da Capital mineira, através de levantamento e análise de material em quadrinhos na Internet. O objetivo principal é inserir e incentivar esses (...) alunos do 9º ano do Ensino Fundamental na pesquisa científica, utilizar de meios que os faça terem interesse por pesquisa. A História em Quadrinho (HQ) como mediadora na transmissão da mensagem entre pesquisadores, professores e alunos do Ensino Fundamental e do Ensino Superior. A internet passa a ser o meio potencial para realização da análise de imagens e de conteúdos textuais existentes nessas Revistas em Quadrinhos. Ao despertarmos suas curiosidades, pensamos em fazê-lo refletir sobre o assunto, buscamos colocar em questão: como abordar a cultura brasileira através dos quadrinhos existentes na Internet? Verificamos que estimula, impulsiona e fortalece o aluno do Ensino Fundamental ao conhecimento e aprendizado cultural, além de mostrar caminhos mais confiáveis para a informação através da internet. O estudo mostra que existe contexto socio-cultural presente nas HQs e que servem de estímulo para jovens estudantes na iniciação cientifica. (shrink)

Illustrations played an important role in the articulation of Wundt’s experimental program. Focusing on the woodcuts of apparatus and experimental designs in the six editions of his Grundzüge der physiologischen Psychologie (published between 1873 and 1911), we investigate the uses and functions of illustrations in the experimental culture of the physiological and psychological sciences. We will first present some statistics on the increasing number of illustrations Wundt included in each new edition of his handbook. Next we will show how Wundt (...) managed to introduce the material and literary technologies of physiology into the ‘new psychology’. The distribution of Wundt’s material technology will be further demonstrated by highlighting the crucial role of technicians and instrument-makers. We will use Shapin and Schaffer’s notions of the ‘three technologies’ and ‘virtual witnessing’, combined with Latour’s concept of ‘immutable mobiles’, as analytical tools to explore the strategic aspects of Wundt’s illustrations. (shrink)

With the continuous development of society, the role of the visual guidance system in animation design has also evolved and evolved in its long history, leading to the changes in the values of modern beauty. In the field of modern social and cultural design, the visual guidance system in animation design has unique regional nature and cultural influence. The visual language should correspond to the visual environment and easy to understand and be known by people. It combines (...) animation conception and design technology to capture the cultural charm and beauty, values, and behavioral norms of people in different fields. This article studies and analyzes the visual orientation of graphic language in the design of animation visual guidance system, and injects the graphic language with orientation into its animation design, so that the animation design is more in line with the characteristics of the times. It can be more adapted to the emerging media and better convey the information transfer between the enterprise and the audience. To further understand the audience’s tendency toward elements of graphic expression, this article analyzes the subjective perceptions of the respondents on the importance of color selection, calligraphy fonts, graphic expression, and modeling meaning. The results of the study showed that the respondents aged 21–35 paid more attention to the choice of graphic colors, and the highest number was 69. (shrink)

We focus on collaborative activities that engage computer graphics designers and social scientists in systems design processes. Our conceptual symmetrical account of technology design and theory development is elaborated as a mode of mutual engagement occurring in an interdisciplinary trading zone, where neither discipline is placed at the service of the other and nor do disciplinary boundaries dissolve. To this end, we draw on analyses of mutual engagements between computer and social scientists stemming from the fields of computer-supported (...) cooperative work, human−computer interaction, and science and technology studies. We especially build on theoretical work in STS concerning information technology in health care and extend recent contributions from STS with respect to the modes of engagement and trading zones between computer and social sciences. We conceive participative digital systems design as a form of inquiry for the analysis of cooperative work settings, particularly when social science becomes part of design processes. We illustrate our conceptual approach using data from an interdisciplinary project involving computer graphics designers, sociologists, and neurosurgeons with the aim of developing patient-centered visualizations for clinical cooperation on a hospital ward. (shrink)

This book critically examines the philosophy of the term 'transgression' and how it shapes the utopian vision of contemporary urban design scenarios. The aim of this book is to provide scholarly yet accessible graphic novel illustrations to inform narratives of urban manifestos. Through four select case studies from the UK, Cyprus and Germany, the book highlights the paradoxes and contradictions in architecture and provides detailed evaluation of the limits and contemporary forms of sustainable urban regeneration. The book proposes (...) an 'utopian urban vision' approach to social, political and cultural relations, trends and tensions both locally and globally, and seeks to inspire an awakening in architectural discourse. The book argues that the philosophical undermining of transgression is the result of a phenomenon from a different perspective -- its philosophical background, its social construction, its experimental research process and its design implications on the city. As such, the book provides a critical examination of how architectural design interventions contribute to sustainable urban regeneration, gentrification and can impact local communities. This book provides a significant contribution to both undergraduate and postgraduate students, as well as early career researchers working in architecture, planning and sustainable urban design. It offers effective guidance on adopting the state-of-the-art graphical illustrations into their own design projects, while considering contradictions between architectural discourse and the philosophy of transgression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:104 Feminist Studies 44, no. 1. © 2018 by Feminist Studies, Inc. Estelle Carol The Chicago Women’s Graphics Collective: A Memoir In 1973, the Chicago Women’s Graphics Collective worked in an old run-down second-floor office on Belmont Avenue, which we shared with the main offices of the Chicago Women’s Liberation Union (CWLU).1 They call it New Town now, but in 1973, there wasn’t much new about it. We weren’t (...) the only artists in the building though; downstairs was a tattoo parlor. Still, it was better than having the studio located in my apartment on Newport Street, where there were silkscreen tables in the dining room and a bathroom that doubled as a darkroom. My bedroom door opened directly into the dining room and usually reeked of the foul chemicals we used to make the posters. Just one OSHA inspection would have shut us down forever, but it was not until later that we learned about the dangers of long-term exposure. On Newport Street, the apartment was right next to the Ravenswood Branch of the “L,” and it shook like the aftershock of a California earthquake each time a train passed. But we were in the midst of a women’s revolution, and our priorities were clear. 1. The Chicago Women’s Graphics Collective (WGC) was a “workgroup” of the CWLU from the very start. There were about 25 workgroups and other groups within the CWLU. CWLU outreach to recruit new members got a lot of new women into WGC. WGC, Women’s Liberation Rock Band, and Womankind Newspaper were the cultural arms of the CWLU. Cultural outreach to attract new CWLU members and new feminists to the movement in general was critical to the CWLU’s success. In Celebration of Amazons, 194. All posters designed and silkscreened collectively by the Chicago Women’s Liberation Union, www.cwluherstory.org. Courtesy of CWLU Herstory Project. All posters are on silkscreen. Turning Through Time, Workwoven, 195. Sisterhood Is Blooming, Springtime Will Never Be the Same, 190. Chicago Women’s Labor History, 194. International Women’s Day (reprinted from a Cuban poster). ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. OPPOSITE Chicago Maternity Center, 192. ABOVE Lesbian Pride, 192. Mountain-Moving Day, 192. ABOVE Detail from Mountain-Moving Day, 192. OPPOSITE Women Unite, Take Back the Night, 199. Lipstick and Blood (reprinted from a Cuban design). Women Are Not Chicks, 191. Liberation School for Women, 192. Boycott Red Coach Lettuce, 192. Working Women Unite, 195. International Women’s Day, Many Waves But One Ocean, 192. Estelle Carol 121 If you look at Chicago Women’s Graphics Collective posters, you’ll rarely see a person’s name on them, because we decided early on that art had been done all wrong by men. It was based on egotism and the cult of the individual—the great-men-of-art syndrome. So we decided to throw all that out, and art now had to be a collective experience. So every poster that we created had to be done by committee. Every one. We had a system in which any one of the collective could get an idea or a phrase or an image and decide to do a poster. They would ask two or three other members to be their assistants and to help develop the idea. And then in little teams they would physically create the poster in silk screen. It had to be a collective process. There’s no way that one single woman could really do it because we were using very primitive reproduction methods, and we needed at least three people to run the silk screen. The silk screens were all hand printed. No machines. If a poster was more than one color, it had to be hand printed, one color at a time, so it was very, very labor intensive. And... (shrink)

ABSTRACT Real-time graphical interval logic is a modal logic for reasoning about time in which the basic modality is the interval. The logic differs from other logics in that it has a natural intuitive graphical representation that resembles the timing diagrams drawn by system designers. We have developed an automted deduction system for the logic, which includes a theorem prover and a user interface. The theorem prover checks the validity of proofs in the logic and produces counterexamples to invalid proofs. (...) The user interface includes a graphical editor that enables the user to create graphical formulas on a workstation display, and a database and proof manager that tracks proof dependencies and allows graphical formulas to be stored and retrieved. In this paper we describe the logic, the automated deduction system, and an application to robotics. (shrink)

Starting from the observation that data sharing in general and sharing of reusable behavioral data in particular is still scarce in psychology, we set out to develop a curation standard for behavioral psychological research data rendering data reuse more effective and efficient. Specifically, we propose a standard that is oriented toward the requirements of the psychological research process, thus considering the needs of researchers in their role as data providers and data users. To this end, we suggest that researchers should (...) describe their data on three documentation levels reflecting researchers’ central decisions during the research process. In particular, these levels describe researchers’ decisions on the concrete research design that is most suitable to address the corresponding research question, its operationalization as well as a precise description of the subsequent data collection and analysis process. Accordingly, the first documentation level represents, for instance, researchers’ decision on the concrete hypotheses, inclusion/exclusion criteria and the number of measurement points as well as a conceptual presentation of all substantial variables included in the design. On the second level these substantial variables are presented within an extended codebook allowing for the linkage between the conceptual research design and the actually operationalized variables as presented within the data. Finally, the third level includes all materials, data preparation and analyses scripts as well as a detailed procedure graphic that allows the data user to link the information from all three documentation levels at a single glance. After a comprehensive presentation of the standard, we will offer some arguments for its integration into the psychological research process. (shrink)

The article examines the algorithms for JPEG and JPEG-2000 compression of various graphic images. The main steps of the operation of both algorithms are given, their advantages and disadvantages are noted. The main differences between JPEG and JPEG-2000 are analyzed. It is noted that the JPEG-2000 algorithm allows re-moving visually unpleasant effects. This makes it possible to highlight important areas of the image and improve the quality of their compression. The features of each step of the algorithms are considered (...) and the difficulties of their implementation are compared. The effectiveness of each algorithm is demonstrated by the example of a full-color image of the BSU emblem. The obtained compression ratios were obtained and shown in the corresponding tables using both algorithms. Compression ratios are obtained for a wide range of quality values from 1 to ten. We studied various types of images: black and white, business graphics, indexed and full color. A modified LZW-Lempel-Ziv-Welch algorithm is presented, which is applicable to compress a variety of information from text to images. The modification is based on limiting the graphic file to 256 colors. This made it possible to index the color with one byte instead of three. The efficiency of this modification grows with increasing image sizes. The modified LZW-algorithm can be adapted to any image from single-color to full-color. The prepared tests were indexed to the required number of colors in the images using the FastStone Image Viewer program. For each image, seven copies were obtained, containing 4, 8, 16, 32, 64, 128 and 256 colors, respectively. Testing results showed that the modified version of the LZW algorithm allows for an average of twice the compression ratio. However, in a class of full-color images, both algorithms showed the same results. The developed modification of the LZW algorithm can be successfully applied in the field of site design, especially in the case of so-called flat design. The comparative characteristics of the basic and modified methods are presented. (shrink)

This essay investigates the linguistic, artistic, and typographical dimensions of Anne Carson’s H of H Playbook and Trojan Women by Euripides: A Comedy. I argue that graphic design and design-thinking principles provide a useful and unexplored theoretical framework for deciphering these books, given the often-complex relationship in them between image and words, and sometimes even words presented in different typeface and handwriting. Carson worked in graphic design for a time, and as a poet, words – (...) and metaphor, specifically – are her primary design tool. Language works in tandem with image and form to create broader artistic meaning. (shrink)

Asemic typography offers an opportunity to consider the distinction between typography in its traditional role for graphic design and how the addition of motion changes its engagement and audience comprehension for motion graphics. These differences enable a consideration of the specific problematics created by chronological development on-screen as a formal differentiator between static and kinetic typography.

The present study investigated children’s understanding development of multiple graphics, here paired conventions commonly used in primary school textbooks. Paired graphics depicting everyday objects familiar to the children were used as the basis for an analogy task that tested their comprehension of five graphics conventions. This task required participants to compare pictures in a base pair in order to complete a target pair by choosing the correct picture from five alternative possibilities. Four groups of children aged 5, 6, 8 and (...) 10 years old respectively (total N = 105), completed 45 analogy task items built around nine conceptual domains. Results showed mainly an overall increase of comprehension performance with age for all the tested conventions. There were also differences between the five conventions and an interaction between age and convention type. Further, children's explanation of the conventions (justification of the choices in the analogy task) were also analyzed. This investigation showed the analogy task answers were a more reliable measure of the "actual" level of understanding of the conventions than the justification themselves. The findings show that younger students tried to actively compare the pictures of the pairs and to search for a relevant meaning of the pairs, however, the youngest children have a limited capacity to interpret paired graphic conventions and our results suggests that this aspect of graphic conventions develops slowly but effectively over the course of children’s schooling. Because "graphicacy" knowledge and skills are not typically taught in primary school classrooms (in contrast with literacy and numeracy), its development is likely acquired incidentally with increasing exposure to varied paired graphics during primary school education. Given the high reliance of today’s educational resources on graphics-based explanations, the results from this study may signal a need for (i) for more attention to learning graphics conventions (and more generally to graphics explanations) from teachers in primary school and (ii) for a better design of the graphics with their contextual accompanying texts and captions, from designers. (shrink)

Semantic networks were developed in cognitive science and artificial intelligence studies as graphical knowledge representation and inference tools emulating human thought processes. Formal analysis of the representation and inference capabilities of the networks modeled them as subsets of standard first-order logic (FOL), restricted in the operations allowed in order to ensure the tractability that seemed to characterize human reasoning capabilities. The graphical network representations were modeled as providing a visual language for the logic. Sub-sets of FOL targeted on knowledge representation (...) came to be called description logics, and research on these logics has focused on issues of tractability of subsets with differing representation capabilities, and on the implementation of practical inference systems achieving the best possible performance. Semantic network research has kept pace with these developments, providing visual languages for knowledge entry, editing, and presenting the results of inference, that translate unambiguously to the underlying description logics. This paper discusses the design issues for such semantic network formalisms, and illustrates them through detailed examples of significant generic knowledge structures analyzed in the literature, including determinables, contrast sets, genus/differentiae, taxonomies, faceted taxonomies, cluster concepts, family resemblances, graded concepts, frames, definitions, rules, rules with exceptions, essence and state assertions, opposites and contraries, relevance, and so on. Such examples provide important test material for any visual language formalism for logic. (shrink)

This paper addresses an important multi-disciplinary issue of current interest, that is, the implications of technological design for fairness. A visual, graphical methodology centered on the Taylor-Russell diagram is proposed to address this issue. The Taylor-Russell diagram helps to identify and explore ways in which predictions built into designs can pit the interests of different constituencies against one another. The configuration of the design represents a trade-off between the interests of the communities involved. Whether or not the trade-off (...) is appropriate constitutes a problem of fairness or distributive justice. The breadth of this methodology is supported by a diversity of examples analyzed. These include a surveillance system, an automotive safety system, a civic information system, and the international food distribution system. These examples provide models for application of the methodology to the analysis of designs in further areas of concern. Limitations of the methodology are also discussed. While it helps to identify and clarify issues of fairness in technology design, the methodology does not provide a general theory of fairness, nor can it provide fair solutions to such issues without appeal to further principles or concepts. (shrink)

Multimedia learning research addresses the question of how to design instructional material effectively. Signaling and adding graphics are typical instructional means that might support constructing a mental model, particularly when learning abstract content from multiple representations. Although signals can help to select relevant aspects of the learning content, additional graphics could help to visualize mentally the subject matter. Learners’ prior knowledge is an important factor for the effectiveness of both types of support: signals and added graphics. Therefore, we conducted (...) an experimental study situated in a university course of computer science with N = 124 participants. In our 2 × 2 factorial design, we investigated the effects of signals and illustrating graphics on learning outcomes and their potential interplay. Based on our regression analysis, we revealed prior knowledge as a significant moderator. Although learners with low levels of prior knowledge can profit from all types of help but still gain rather weak learning outcomes, learners with medium levels of prior knowledge profit from the synergy of both helps. With higher levels of prior knowledge, signals were particularly hampering. To improve the understanding of these supportive or hampering effects, a more fine-grained analysis of these processes and motivational effects is necessary. (shrink)

Design problems in structural engineering are often modeled as differential equations. These problems are posed as initial or boundary value problems with several possible variations in structural designs. In this paper, we have derived a mathematical model that represents different structures of beam-columns by varying axial load with or without internal forces including bending rigidity. We have also developed a novel solver, the LeNN-NM algorithm, which consists of weighted Legendre polynomials, and a single path following optimizer, the Nelder–Mead algorithm. (...) To evaluate the performance of our solver, we have considered three design problems representing beam-columns. The values of performance indicators, MAD, TIC, NSE, and ENSE, are calculated for a hundred simulations. The outcome of our statistical analysis points to the superiority of the LeNN-NM algorithm. Graphical illustrations are presented to further elaborate on our claims. (shrink)

In his entertaining and informative book Graphic Discovery, Howard Wainer unlocked the power of graphical display to make complex problems clear. Now he's back with Picturing the Uncertain World, a book that explores how graphs can serve as maps to guide us when the information we have is ambiguous or incomplete. Using a visually diverse sampling of graphical display, from heartrending autobiographical displays of genocide in the Kovno ghetto to the "Pie Chart of Mystery" in a New Yorker cartoon, (...) Wainer illustrates the many ways graphs can be used--and misused--as we try to make sense of an uncertain world. Picturing the Uncertain World takes readers on an extraordinary graphical adventure, revealing how the visual communication of data offers answers to vexing questions yet also highlights the measure of uncertainty in almost everything we do. Are cancer rates higher or lower in rural communities? How can you know how much money to sock away for retirement when you don't know when you'll die? And where exactly did nineteenth-century novelists get their ideas? These are some of the fascinating questions Wainer invites readers to consider. Along the way he traces the origins and development of graphical display, from William Playfair, who pioneered the use of graphs in the eighteenth century, to instances today where the public has been misled through poorly designed graphs. We live in a world full of uncertainty, yet it is within our grasp to take its measure. Read Picturing the Uncertain World and learn how. (shrink)

First and still only philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings--depictive and nondepictive, East and West--engaging cognitive and developmental psychology, philosophy, art history and criticism. Ca 290 double-columned pp., 92 illus. Reviews include: Philosophy--David Hills, Journal of Aesthetics and Art Criticism 65, no. 2 (Spring 2007): 235-237. Aesthetics--Michael Podro, British Journal of Aesthetics 48, no. 3 (July 2008): 346-347. Art history--Svetlana Alpers, Phi Bet (...) Kappa Society Key Reporter (Summer 2006): 14 http://www.pbk.org/documents/tkrpdf/TKRSummer2006.pdf. General--Amy Ione, Leonardo On-line Reviews: http://www.leonardo.info/reviews/jan2007/draw_ione.html . (shrink)

The article deals with the essence and genesis of an individual style in postmodern architectural graphics as a special signature of creativity. It considers conceptual and terminological issues regarding the concept of “architecture”, “architectural graphics”, and “an individual style”. Besides, the article shows that the knowledge of architectural graphics makes it a powerful visual tool in any kind of design activity. In the current post-industrial period, manual graphics acts as an individual unit. An individual style is always formed based (...) on a specific personal programme, whose postulates influence the architect’s work. The international relevance of the article lies in a new approach to the concept of “style” in postmodern architectural graphics. In turn, it allows one to discover new methodological guidelines for its formation. (shrink)

This article presents preliminary considerations and results from a research project designed to investigate the relation between gestures, graphic traces and perceptions. More specifically, the project aims to test the hypothesis that graphic traces, including handwriting, can set up graphetic empathy between writers and readers of traces across long temporal and spatial distances. Insofar as a graphic trace is lawfully related to the gesture by which it came into being, the trace itself will hold information about the (...) gesture, which may resonate with the sensorimotor system of a perceiver, as if they themselves performed the gesture. If this is in fact so, it will have important and hitherto unanticipated implications for our understanding of the embodiment of reading. As part of the article we will present and discuss the results of a neurophenomenological trial study through which we attempt to operationalize the gesture-trace and trace–perception relations respectively. (shrink)

To make the interface design of computer application system better, meet the psychological and emotional needs of users, and be more humanized, the emotional factor is increasingly valued by interface designers. In the design of human-computer interaction graphical interfaces, the designer attaches great importance to the emotional design of the interface, and enhances the humanized design of the interface, which cannot only improve the comfort of the interface, but also improve the fun of the interface, to (...) ensure the psychological and emotional needs of users can be better satisfied. It may acquire information that is favorable to innovative design by utilizing cluster analysis algorithm to tackle the problem of complicated cultural information, and then utilize cellular genetic algorithm to carry out creative design of cultural items. It increases the availability of cultural and creative goods. The classic cluster analysis technique offers the maximum data clustering effect of 53.3%, according to the findings of this paper’s experiments. While the improved cluster analysis algorithm has the highest data clustering effect of 90%. It can be seen that the improved cluster analysis algorithm can effectively perform cluster analysis on a large amount of data in cultural and creative products. It thus finds out the most suitable designer’s creative information, which helps designers create better products. (shrink)

This volume presents 25 essays on the philosophy of design. With contributions originating from philosophy and design research, and from product design to architecture, it gives a rich spectrum of state of the art research and brings together studies on philosophical topics in which design plays a key role and design research to which philosophy contributes. Coverage zooms in on specific and more well-known design disciplines but also includes less-studied disciplines, such as graphic (...) design, interior architecture and exhibition design. In addition, contributors take up traditional philosophical issues, such as epistemology, politics, phenomenology and philosophy of science. Some essays cover philosophical issues that emerge in design, for instance what design can do in addressing societal problems, while other essays analyze main-stream philosophical issues in which design is part of the argument, as for instance abduction and aesthetics. Readers will discover new research with insightful analyses of design research, design thinking and the specificity of design. Overall, this comprehensive overview of an emerging topic in philosophy will be of great interest to researchers and students. (shrink)

The work reported here is of two sorts. One the one hand, we attempt to consolidate a lot of recent work on situation theory into a workable version, one that researchers can use and add to in ways that might be suitable for various applications. On the other, we attempt to solve a representational problem with situation theory: how can we represent complicated situation-theoretic objects in a way that is perspicuous. Our way in to the latter problem comes from an (...) on-going project aimed at bringing insights from Discourse Representation Theory and Situation Theory to bear on one another. In terms of this project, this paper represents a rather modest contribution. Our goal is to design a language for representing situationtheoretic objects that is based on Kamp's discourse representation structures. This was where we started but we found that working on the notation and its semantics led us to clari cations of various aspects of situation theory. A major part of the clari cation in the theory comes from our use of the work on parameters and abstraError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapction by Aczel and Lunnon AL]. (shrink)

The subject of the research is a modern graphic and communicative design, in the context of changing existing and forming new roles of communicators, transforming the communication model, forming a semiotic communication format. The object of the research is modern graphic and communicative design, as well as their traditional, digital and generative subdirections. Design beginning to have digital, semiotic-interactive and artificially intelligent characteristics. The author examines in detail such aspects of the topic as: dialogical, semiotic-interactive (...) qualities of design solutions; digital, semiotic-interactive design-software expressive means; features of semiotic-deconstructivity (analyticity) and semiotic-synthetics (constructiveness) of design solutions in the context of design activity; the influence of technical and technological features of tools and design-environments (design systems) for the formation of automated and artificially intelligent qualities of design solutions. The study of the conceptual model of a semiotic-interactive design is carried out in the context of a semiotic-interactive methodology (a set of principles and strategies of design activity). The main conclusions of the study are the description of the conceptual model of a semiotic-interactive design solution, in the context of a semiotic-interactive methodology implemented in the conceptual-generative subdirection of modern graphic and communicative design. The author's main contribution to the research of the topic is to identify the main components of the conceptual model of a semiotic-interactive design solution and demonstrate their relationship with each other in the form of a holistic model. The novelty of the research lies in the description of the characteristics of the components, the conceptual model of a semiotic-interactive design solution: a dialogical semiotic-interactive format for creating invariant concepts and design solutions; versioning of design solutions based on the semiotic synthesis of design programs; semiotic deconstruction of design solutions at the macro and micro levels; semiotic synthesis of design and artistic design programs; application of design programs as decision tools; use of hyperconnected capabilities of the design environment: the history of actions, integrity and continuous change and development. (shrink)

waC provides a variety of different graphical notification mechanisms which can be coupled to specific working situations using the AREA model. We also report on the evaluation of the system under real-life conditions in a German federal ministry.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 45, no. 1. © 2019 by Feminist Studies, Inc. 129 Miriam Kienle Dear Data: Feminist Information Design’s Resistance to Self-Quantification Every Sunday for one year, information designers Giorgia Lupi and Stefanie Posavec sent each other a hand-drawn postcard that featured a data visualization of their week as it pertained to a single aspect of their daily lives: doors opened, clocks checks, sounds heard, smells perceived, and (...) so on (figs. 1–4). With this series of postcards exchanged between Brooklyn and London, Lupi and Posavec gained intimate knowledge of one another through their small/slow data, and at the same time, they produced a critical examination of the capture, interpretation, and visualization of their daily data from a uniquely feminist perspective. Although the field of information design prizes clear, efficient, and seamless presentations of quantified activity, Lupi and Posavec’s Dear Data (2015) is comprised of visualizations that underscore complexity over clarity, present questions rather simply display information, and expose the instability of data itself.1 Against the quantification of embodied experience into seemingly objective and all-encompassing datasets, Dear Data instead looks at data from a feminist perspective, as tied to concrete bodies, localities, and temporalities and visualized in a manner 1. The approach to infographics that prioritizes efficiency, accuracy, and elegance, and thus suppresses the constructed and interpretative nature of both data and its visualization, is perhaps most attributed to Edward Tufte. For Tufte’s aims and methods, see Edward R. Tufte, The Visual Display of Quantitative Information (Cheshire, CT: Graphics Press, 2001). 130 Miriam Kienle that is incomplete, contingent, and constructed.2 This paper will analyze Lupi and Posavec’s designs as providing a model for a feminist approach to data visualization—a model imperative in an age in which the quantitative information (much like a binary understanding of gender) is too often treated as a self-evident fact rather than what feminist philosopher Donna Haraway famously called “situated knowledges.”3 Recently acquired by MoMA’s architecture and design collection, the Dear Data project not only stands out in the collection as the product of two female designers working in the male-dominated fields of technology and design, but also as a project that stresses feminist knowledge production by underscoring how data voids shape datasets and debunking the myth that the world is data that can be captured and visualized with neutral, distanced, and all-encompassing technologies of vision. As Catherine D’Ignazio and Lauren Klein describe in Data Feminism, data visualization from a feminist perspective understands that “bar charts might seem neutral and objective, but are in fact the result of very human and necessarily imperfect design processes.”4 Such a perspective is evident across Dear Data. Take, for example, “Week 42: A week of laughter” (fig. 5). On the key in Posavec’s visualization, she notes: “I tried to capture my laughs which was really hard + got in the way of the enjoying life, hence the data voids. / For a card about laughter I am sad about how this card turned out.”5 This willingness to show the gaps in her data, the complexities of her process, and the imperfections of her visualizations contrasts with the seamless and straightforward displays of information 2. For a feminist approach to data visualization, see Catherine D’Ignazio and Lauren Klein, Data Feminism (Cambridge, MA: MIT Press, 2019), ebook; Catherine D’Ignazio, “What Would Feminist Data Visualization Look Like?” Center for Civic Media. Massachusetts Institute of Technology (blog), December 20, 2015, https://civic.mit.edu/feminist-data-visualization; and Johanna Drucker, Graphesis: Visual Forms of Knowledge Production (Cambridge, MA: Harvard University Press, 2014). 3. Donna Haraway, “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective,” Feminist Studies 14, no. 3 (1988): 575–99. 4. D’Ignazio and Klein, introduction to their Data Feminism. 5. Giorgia Lupi and Stefanie Posavec, Dear Data (New York: Princeton Architectural Press, 2016), 231. Miriam Kienle 131 or what infographic guru Edward Tufte describes as “Designs so good that they are invisible.”6 Counter to the invisible and seemingly objective visualizations of our personal data to which we have become accustomed (on calorie counters, credit card statements, etc... (shrink)

In 2004, Robert Nelson noted in creative, practice-led research degrees that the exegesis had been reconceptualised as a cultural contribution to scholarship. He suggested that the challenge this posed was the need for writing to interface effectively with the nature and calibre of the creative work. A decade on from his observation, this article employs a case study to discuss emerging approaches to the exegesis in the work of graphic design doctoral candidates at AUT University in New Zealand. (...) Accepting the multi-perspectival and multi-voiced nature of the practice-led exegesis writer, it discusses approaches to both structure and presentation. In so doing, it also considers specific issues, including negotiated relationships between the role and the nature of the designer’s voice, systems of narration, and issues impacting upon both digital and print formats. (shrink)

The Effect: An Introduction to Research Design and Causality is about research design, specifically concerning research that uses observational data to make a causal inference. It is separated into two halves, each with different approaches to that subject. The first half goes through the concepts of causality, with very little in the way of estimation. It introduces the concept of identification thoroughly and clearly and discusses it as a process of trying to isolate variation that has a causal (...) interpretation. Subjects include heavy emphasis on data-generating processes and causal diagrams. Concepts are demonstrated with a heavy emphasis on graphical intuition and the question of what we do to data. When we "add a control variable" what does that actually do? (shrink)

Mathematics is a struggle for many. To make it more accessible, behavioral and educational scientists are redesigning how it is taught. To a similar end, a few rogue mathematicians and computer scientists are doing something more radical: they are redesigning mathematics itself, improving its ergonomic features. Charles Peirce, an important contributor to ordinary symbolic logic, also introduced a rigorous but non-symbolic, graphical alternative to it that is easier to picture. In the spirit of this iconic logic, George Spencer-Brown founded iconic (...) mathematics. Performing iconic arithmetic, algebra, and even trigonometry, resembles doing calculations on an abacus, which is still popular in education today, has aided humanity for millennia, helps even when it is merely imagined, and ameliorates severe disability in basic computation. Interestingly, whereas some intellectually disabled individuals excel in very complex numerical tasks, others of normal intelligence fail even in very simple ones. A comparison of their wider psychological profiles suggests that iconic mathematics ought to suit the very people traditional mathematics leaves behind. (shrink)

The possibility of ideography is an empirical question. Prior examples of graphic codes do not provide compelling evidence for the infeasibility of ideography, because they fail to satisfy essential cognitive requirements that have only recently been revealed by studies of representational systems in cognitive science. Design criteria derived from cognitive principles suggest how effective graphic codes may be engineered.

Eden In Iraq is an environmental design and water remediation project in the marshes of southern Iraq using design and wastewater as bio-art, to create a restorative garden for education, cultural memory, and contemplation. Earmarked for a 20,000 m2 site at Al Manar in the marshes between the Tigris and Euphrates rivers, near a probable site of the historic Garden of Eden, Eden in Iraq is a project that brings, art, design, and technology together with culture and (...) history. Drawing on Islamic and Mesopotamian traditions originating in this historically and symbolically charged region, the Eden in Iraq Waste Water Garden is designed to be a syncretic container for ecological and cultural restoration and heritage after the time of war. This paper looks at this project from three inter-related activities, namely, treatment of wastewater suitable for growing a large scale garden, design of the garden starting from the Islamic garden design principles and thirdly, reviving the cultural heritage of the pre-Islamic, Mesopotamian art in contemporary forms.Graphic abstract. (shrink)

This article compares two cultures of engineering design, one flexible and interactive, the other rigid and hierarchical. It examines the practices of design engineers who use a mixture of paper documents and computer graphics systems and contrasts these with the practices of workers reengineering their own work process and its technological support system, using predesigned software. Based on the idea from actor network theory that objects participate in the shaping of new technologies and the networks that build them, (...) the study reveals that design cultures are intrinsically tied to the way in which their representations are constructed because such representations—sketches, drawings, prototypes—are the heart of design work; such design tools can engage or restrict participation in the design process; politics in the form of management prerogatives can be built into a design tool, influencing the range of creativity allowed and innovation accomplished in a given sociotechnological setting. (shrink)