Evaluation of Sketchiness as a Visual Variable for 2.5D Treemaps

Author(s):  
Daniel Limberger ◽  
Carolin Fiedler ◽  
Sebastian Hahn ◽  
Matthias Trapp ◽  
Jurgen Dollner
Keyword(s):  
2021 ◽  
Vol 13 (1) ◽  
pp. 339
Author(s):  
Yoshimi Hasegawa ◽  
Siu-Kit Lau

A growing number of soundscape studies involving audiovisual factors have been conducted; however, their bimodal and interactive effects on indoor soundscape evaluations have not yet been thoroughly reviewed. The overarching goal of this systematic review was to develop the framework for designing sustainable indoor soundscapes by focusing on audiovisual factors and relations. A search for individual studies was conducted through three databases and search engines: Scopus, Web of Science, and PubMed. Based on the qualitative reviews of the selected thirty papers, a framework of indoor soundscape evaluation concerning visual and audiovisual indicators was proposed. Overall, the greenery factor was the most important visual variable, followed by the water features and moderating noise annoyance perceived by occupants in given indoor environments. The presence of visual information and sound-source visibility would moderate perceived noise annoyance and influence other audio-related perceptions. Furthermore, sound sources would impact multiple perceptual responses (audio, visual, cognitive, and emotional perceptions) related to the overall soundscape experiences when certain visual factors are interactively involved. The proposed framework highlights the potential use of the bimodality and interactivity of the audiovisual factors for designing indoor sound environments in more effective ways.


Author(s):  
Jonathan Rozenkrantz

This article explores the various manifestations of analogue video in digital culture. Introducing the framing concept of an aesthetics of remanence, it argues that the “society of the spectacle” (Debord) has entered an age of retrospectacle, a dominant signifier of which is the remediation and/or simulation of analogue videography. The concept of remanence connects the material conditions of magnetic tape with analogue video’s aesthetic expressions, and the cultural situation in which analogue video finds itself today. By looking at three different cases related to retro gaming, contemporary hip hop, and “old skool” rave, the article shows how the aesthetics of remanence remains highly susceptible to subcultural sensibilities—while it also functions as their shared visual variable. The short film Kung Fury (David Sandberg, 2015) is a playfully post-ironic recuperation of failed media technologies. The music video “Fromdatomb$” (David M. Helman, 2012) is a complex exploration of the idea(l) of the historical real. And the work of video art Fiorucci Made Me Hardcore (Mark Leckey, 1999) is a creative treatment of nostalgia which invites us to reconsider the medical origins of the term.


Information ◽  
2020 ◽  
Vol 11 (2) ◽  
pp. 123
Author(s):  
Anderson Gregório Marques Soares ◽  
Elvis Thermo Carvalho Miranda ◽  
Rodrigo Santos do Amor Divino Lima ◽  
Carlos Gustavo Resque dos Santos ◽  
Bianchi Serique Meiguins

The Treemap is one of the most relevant information visualization (InfoVis) techniques to support the analysis of large hierarchical data structures or data clusters. Despite that, Treemap still presents some challenges for data representation, such as the few options for visual data mappings and the inability to represent zero and negative values. Additionally, visualizing high dimensional data requires many hierarchies, which can impair data visualization. Thus, this paper proposes to add layered glyphs to Treemap’s items to mitigate these issues. Layered glyphs are composed of N partially visible layers, and each layer maps one data dimension to a visual variable. Since the area of the upper layers is always smaller than the bottom ones, the layers can be stacked to compose a multidimensional glyph. To validate this proposal, we conducted a user study to compare three scenarios of visual data mappings for Treemaps: only Glyphs (G), Glyphs and Hierarchy (GH), and only Hierarchy (H). Thirty-six volunteers with a background in InfoVis techniques, organized into three groups of twelve (one group per scenario), performed 8 InfoVis tasks using only one of the proposed scenarios. The results point that scenario GH presented the best accuracy while having a task-solving time similar to scenario H, which suggests that representing more data in Treemaps with layered glyphs enriched the Treemap visualization capabilities without impairing the data readability.


2012 ◽  
Vol 241-244 ◽  
pp. 2153-2157
Author(s):  
Juan Li ◽  
Yang Wang ◽  
Ying Wang ◽  
Hao Chen

Taking the natural disaster map as an example, this paper discusses the three-dimensional design supported by Computer-aid Cartography (CAC). It tries to make full use of the unique height and facade visual variables of three-dimensional symbols to express more information, and takes the shadow of three-dimensional symbols as a visual variable to apply in disaster maps. The combined application of the size and the shadow of three-dimensional symbols can maximize the utilization of the optimum visual variable and enhance the readability of the map. Through the questionnaire survey, the paper designs a series of proportional circles suitable for the popular thematic atlas format, thus achieves the automatic size customization of map symbol supported by CAC and conducive to the automation of computer aided mapping.


Author(s):  
Terry Stanard ◽  
Matthew R. H. Smith

Research on the visual information used in collision avoidance has inappropriately attributed adequate task performance to the use of the visual variable tau (τ). We constructed a collision avoidance experiment where the τ hypothesis was tested against the use of other potential information sources, including expansion rate. Subjects viewed a head-on flight towards one or two barriers. During the first half of trials, a single barrier was present and subjects were instructed to approach it as closely as possible before ascending over it. During the second half of the trials, a second barrier was placed above the first and subjects flew through the resulting gap. The ascent dynamics were manipulated between subjects, such that a time-to-contact margin demarcated the collision boundary with one group, but a constant distance-to-contact margin with another group. Subjects in the time-relevant group responded in a manner more consistent with the use of expansion rate information, but neither a single critical expansion rate or τ strategy adequately explains performance in the two-barrier condition. Subjects in the distance-relevant group responded in a manner consistent with the use of relative distance information.


Author(s):  
Kathleen Williams

This article explores the various manifestations of analogue video in digital culture. Introducing the framing concept of an aesthetics of remanence, it argues that the “society of the spectacle” (Debord) has entered an age of retrospectacle, a dominant signifier of which is the remediation and/or simulation of analogue videography. The concept of remanence connects the material conditions of magnetic tape with analogue video’s aesthetic expressions, and the cultural situation in which analogue video finds itself today. By looking at three different cases related to retro gaming, contemporary hip hop, and “old skool” rave, the article shows how the aesthetics of remanence remains highly susceptible to subcultural sensibilities—while it also functions as their shared visual variable. The short film Kung Fury (David Sandberg, 2015) is a playfully post-ironic recuperation of failed media technologies. The music video “Fromdatomb$” (David M. Helman, 2012) is a complex exploration of the idea(l) of the historical real. And the work of video art Fiorucci Made Me Hardcore(Mark Leckey, 1999) is a creative treatment of nostalgia which invites us to reconsider the medical origins of the term.


2010 ◽  
pp. 33-50 ◽  
Author(s):  
Yi-Hwa Wu ◽  
Ming-Chih Hung

Cartograms have the advantage of bringing a greater visual impact to map readers. Geographic locations or spatial relationships of objects are intentionally modified to suit the attributes pertaining to objects. In area cartograms, it is the size of the object that is intentionally modified, while in linear cartograms it is the length or direction that is intentionally modified. Traffic conditions in urban transportation networks are very dynamic phenomenon as they change through time. During highly congested hours, travel speeds are low, and travel times are long, and vice versa. In previous studies, traffic conditions were visualized by color and width of road segments. In this paper, non-connective linear cartograms are introduced as a way to represent traffic conditions. Non-connective linear cartograms are linear cartograms that do not show the connectivity between line segments. Lengths of road segments are modified to represent a specific theme in traffic conditions. When the length of road segments represents the congestion level, longer segments indicate higher congestion levels, meaning near road maximum capacity. When the length of the segments represents the travel speed, longer segments indicate higher travel speed and, therefore, shorter travel time. When the length of the segments represents the travel time, longer segments indicate longer travel time, and therefore lower travel speed. In the non-connective linear cartograms, lengths of line segments are not limited to the physical length of represented road segments. The flexibility of adjusting it makes length of line segment a visual variable just like color and width of line segment. All three visual variables work together to create dramatic visual effects and attract greater attention from readers.


2021 ◽  
Vol 13 (2) ◽  
pp. 982-989
Author(s):  
Wejdan Saad Abdullah ◽  
Dr. Najdat Abdel Raouf Abdel Reda

This research aims to (evaluating maps and illustrations in geography books for the preparatory stage). In order to answer the research questions, the researchers prepared two tools, the first tool represented the quality standard of maps, while the second tool represented the standard of photographers, and the map tool in its final form consisted of (51) fifty-one indicators distributed on (13) thirteen basic elements of the map and a visual variable, either The graphic tool included (39) thirty-nine indicators distributed over (12) twelve criteria, and the validity was confirmed by presenting them to the arbitrators. Stability through time, stability between two analysts, so the reliability coefficient reached: for the researcher over time for the maps criterion (91%) and for the graphics criterion (93%), and the reliability coefficient between the researcher and the other analysts for the maps criterion (88%) and for the graphics criterion (90%). To analyze the data, the researcher used the statistical methods and means represented by: Cooper's equation to calculate the reliability coefficient, frequencies, arithmetic mean and standard deviation to find out the degree of availability of each indicator and each criterion. Most of them were low for these books. As for the pictorial ones (pictures and drawings), the percentage of verification in the fourth and fifth grade book was higher than what was achieved in the sixth grade book.


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