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Informative art is computer augmented, or amplified, works of art that not only are aesthetical objects but also information displays, in as much as they dynamically reflect information about their environment. Informative art can be seen as a kind of slow technology, i.e. a technology that promotes moments of concentration and reflection. Our aim...
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Context 1
... of the compositions of the Dutch artist Piet Mon- drian, which are based on rectangular colour fields together with black lines. Mapping information into such a composi- tion can be done in dozens of ways. We have chosen to do a fairly straightforward mapping, where each colour field represents the e-mail traffic associated with one person ( fig. 2). Whenever a person sends or receives an e-mail, the area of the field she is represented by is increased. Conversely, if someone is not involved in any e-mail communication for a period of time, the area of her field is decreased (cf. fig. 2 and fig. 3) Every time the system starts up, a new "painting" is gener- ated. To keep a certain ...
Context 2
... mapping, where each colour field represents the e-mail traffic associated with one person ( fig. 2). Whenever a person sends or receives an e-mail, the area of the field she is represented by is increased. Conversely, if someone is not involved in any e-mail communication for a period of time, the area of her field is decreased (cf. fig. 2 and fig. 3) Every time the system starts up, a new "painting" is gener- ated. To keep a certain structure of the compositions, each field is placed in the same place every time. The appear- ance of the fields, however, can vary in both shape and col- our. There are three possible shapes for the fields: quadratic, standing rectangular ...
Context 3
... that make use of the "spatial" properties of information (e.g., how different parts are related to each other) are an important area of research on information vis- ualisation. WebAware [24] ( fig. 12) is a system that dynam- ically visualises the traffic on a web site and displays this visualisation in a public place. The purpose of it is to make people in a workplace aware of what is going on on their web site. WebAware falls somewhere between a more tradi- tional information visualisation application and informative art. In being ...
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Maps are a primary method of displaying statistical data that comes from a geographical frame. Maps are aesthetically appealing and make it easier to identify geographic patterns in a data set. However, few introductory statistical texts and courses explicitly present maps as a way to display data. In this paper, we will present examples of differe...
Citations
... Recently a significant amount of research work has been focused on the domain of information visualization, mainly focusing on the alternative means and strategies for visualizing big data [38][39][40][41][42][43][44]. At the same time, the type of visualization and the visualization medium has been proven to be of extreme importance and several attempts have been made to utilize different presentation mediums, display formats, and interaction types [45][46][47][48][49][50]. ...
In the digital information world, visualizing information in public spaces has been implemented in various formats and for application contexts such as advertisement, useful information provision, and provision of critical information in the cases of accidents, natural disasters, etc. Among the different types of information displays, in this research work, the focus is given to the ones that extend the experience of people visiting cultural heritage institutions. To this end, the design and implementation of an interactive display case that aims to overcome the “non-touch policy” of museums are presented. This novel display allows visitors to get engaged with artifacts and information through touch-based interaction with the ambition to extend the target audience and impact of museum content. The conducted study demonstrates that the interactive display case is an effective solution for providing relevant information to visitors, enhancing their engagement with exhibits, and improving their overall experience. The proposed solution is user-friendly, engaging, and informative, making it ideal for museums and other public exhibit spaces.
... Informative art is a term used by (Redström 2000) to refer to a type of computer applications which borrow their appearance from well-known artistic styles to dynamically visualise updated information. Various kinds of data such as e-mail traffic, current weather conditions around the world, earthquake data and the activity level in a room were used for visualisation in styles inspired by painters (Skog et al. 2002). ...
The intersection between Software Engineering and Art is an interesting area which is growing with an increasing number of artists using software technology in their artwork. As a result, software developed by artists and for artists is emerging as new category of software and software dependent art projects are growing in numbers, drawing the attention of software developers and artists. Often in these projects, software engineers have to work together with artists in order to support them with software engineering methods, tools, and technology. But the collaboration between artists and software engineers is not always smooth due to the fact that they come from two very different disciplines. Hence a knowledge base at the intersection of software engineering and art is beneficial to both artists and software engineers. From the software engineering point of view, the scope of software engineering can be extended by considering software dependent artwork as a system. In this way, software engineering issues can be identified in the development, maintenance and upgrading of software dependent artwork. In this thesis, we will conceptualise the intersection of software engineering and art, and contribute to the knowledge base at the intersection. In this research we have identified the following research questions to investigate the intersection of software and art:
RQ1. What is the relationship between art and software and how can we conceptualise it?
RQ2. How can we characterise the development process of software dependent artwork and projects in terms of software development, maintenance, upgrade and usability of the artwork?
RQ3. How can we increase collaboration between artists and software engineers and improve the field of computing by borrowing concepts from the arts?
These queries were dealt with in two systematic reviews and a case study. The results of the queries were obtained by qualitative analysis of information and concepts gathered from literature reviews and case studies where the data analysis is predominantly hermeneutics and phenomenological. The main contributions of the research work are:
C1. Identification of the research issues at the intersection of software and art.
C2. Conceptual framework of different entities and themes at the intersection of software and art
C3. Identification of the issues that contribute to the success or failure of a software dependent art project and the features that facilitates collaboration between artists and technologists
C4. Proposals on how we can bridge software engineering and art through collaborations and improve computing discipline by borrowing concepts and ideas from art.
These contributions add to the knowledge base at the intersection of software engineering and art. The knowledge base identifies how software engineering can be extended and enriched by collaborations with art. At the same time, the knowledge base can bridge the gap between the stakeholders involved in the software and art and bring positive results and experiences for everyone involved.
... Other than that, a few previous studies demonstrated that informative art can be another appropriate way of visualizing personal information. Informative Art [5,40] refers to a way of visualizing dynamically updated information in artistic styles that does not provide exact information, but only a sense of perception. Rodgers et al. [41] utilized different artistic visualization to inform users on their energy usage. ...
... Among the multiple manifestations of MR for CH most relevant to this work is the usage of augmented artifacts to access and interact with information and artifacts (e.g., [29]). Previous approaches include multimodal interfaces to augment physical CH artifacts with information [30,31], CH-inspired games that employ physical items and digitizations of physical items and sites [32][33][34], informative art displays [35][36][37][38], and immersive mixed reality environments for CH [39]. ...
In this paper, a representation based on digital assets and semantic annotations is established for Traditional Craft instances, in a way that captures their socio-historic context and preserves both their tangible and intangible Cultural Heritage dimensions. These meaningful and documented experiential presentations are delivered to the target audience through narratives that address a range of uses, including personalized storytelling, interactive Augmented Reality (AR), augmented physical artifacts, Mixed Reality (MR) exhibitions, and the Web. The provided engaging cultural experiences have the potential to have an impact on interest growth and tourism, which can support Traditional Craft communities and institutions. A secondary impact is the attraction of new apprentices through training and demonstrations that guarantee long-term preservation. The proposed approach is demonstrated in the context of textile manufacturing as practiced by the community of the Haus der Seidenkultur, a former silk factory that was turned into a museum where the traditional craft of Jacquard weaving is still practiced.
... Among the multiple manifestations of MR for CH most relevant to this work is the usage of augmented artifacts to access and interact with information and artifacts (e.g., [29]). Previous approaches include multimodal interfaces to augment physical CH artifacts with information [30,31], CH-inspired games that employ physical items and digitizations of physical items and sites [32][33][34], informative art displays [35][36][37][38], and immersive mixed reality environments for CH [39]. ...
This work regards the representation of handicrafts for craft training and demonstration in the environment of an ethnographic heritage museum. The craft of mastic cultivation is chosen as a use case. This paper presents the process of representation and presentation of this craft, following an articulated pipeline approach for data collection, annotation, and semantic representation. The outcomes were used to implement an exhibition that targets the presentation of craft context and craft training, through interactive experiences, mobile applications, and a hands-on training where users reenact the gestures of a mastic cultivator. Preliminary evaluation results show high acceptance for the installation and increased user interest.
... A small number of papers rely on what we categorized as Artistic visualizations (5/44)-visualizations that show data in an aesthetically pleasing way, where the data visualization remains in the periphery when it is not the primary focus of attention for exploration and analysis. This category is related to ambient displays, and is inspired by Redström et al.'s informative art [73] and Stasko's information art [87]. Examples in the corpus are Chemicals in the Creek [68], Time-Turner [86] and Valkanova et al.'s Gurgle water fountain display [94]. ...
Situated visualization is an emerging concept within visualization, in which data is visualized in situ, where it is relevant to people. The concept has gained interest from multiple research communities, including visualization, human-computer interaction (HCI) and augmented reality. This has led to a range of explorations and applications of the concept, however, this early work has focused on the operational aspect of situatedness leading to inconsistent adoption of the concept and terminology. First, we contribute a literature survey in which we analyze 44 papers that explicitly use the term “situated visualization” to provide an overview of the research area, how it defines situated visualization, common application areas and technology used, as well as type of data and type of visualizations. Our survey shows that research on situated visualization has focused on technology-centric approaches that foreground a spatial understanding of situatedness. Secondly, we contribute five perspectives on situatedness (space, time, place, activity, and community) that together expand on the prevalent notion of situatedness in the corpus. We draw from six case studies and prior theoretical developments in HCI. Each perspective develops a generative way of looking at and working with situatedness in design and research. We outline future directions, including considering technology, material and aesthetics, leveraging the perspectives for design, and methods for stronger engagement with target audiences. We conclude with opportunities to consolidate situated visualization research.
... This Aesthetics dimension suggests that any design of Ambient Displays must balance between acting as a pleasing environmental artefact and visualising information in a meaningful way. Ambient Display designers tend to put considerable effort into the aesthetics, often adopting sculptural representations or other artistic conventions (Pousman and Stasko 2006) such as Informative Art (Redström et al. 2000). It is more difficult to draw a direct relationship between aesthetics and cognitive load, particularly the subtle influence that might result from the positive affect experienced with good aesthetics. ...
Ambient Displays, a sub-class of ubiquitous computing, aim to present non-critical information using peripheral visualisation with minimal distraction. The utility of Ambient Displays relies on providing useful, well-designed information in a way that does not increase the users cognitive load. Assessing the cognitive load of an Ambient Display is thus an important part of the development process. In this paper we review the key design dimensions of Ambient Displays and consider how they impact on cognitive load. We then examine various approaches for measuring cognitive load before describing a study that investigates a novel use of a dual-task measure to evaluate the cognitive load of a specific Ambient Display. A between-subjects design with 40 participants was used, with the Ambient Display active for half of these participants. All participants completed three different primary tasks (n-back, visual digit span, and auditory digit span) alongside the secondary, Detection Response Task. The results show that the n-back task is the most appropriate for manipulating primary task load when evaluating such displays and that the dual-task paradigm can be used to provide an objective measure of workload. Analysis of the participants primary and secondary task performance indicates that the evaluated Ambient Display imposed no additional cognitive load.
... 2020 emotions and by using aesthetics. This approach strongly relates to the informative art research field (Redström et al., 2000;Holmquist & Skog, 2003;Ferscha, 2007). ...
This article reviews surveys, design spaces, and frameworks related to the design of persuasive interactive systems, with a particular focus on energy. We first propose a cartography of these conceptual tools. Most previous work focuses on persuasion principles but is difficult to apply for the software design and engineering of persuasive interactive systems. As a result, we propose UP+, a new framework that synthetizes and revisits existing surveys, design spaces, and frameworks from the software engineering perspective of persuasive interactive systems.
Cet article propose un état de l’art d’espaces de conception et d’études pour les systèmes interactifs persuasifs, en particulier dans le domaine de l’énergie. Nous établissons et proposons une cartographie des principes de persuasion et des caractéristiques des systèmes persuasifs captées par ces outils. Nous observons que la plupart de ces outils sont difficiles à exploiter pour l’ingénierie de ces systèmes. Aussi, à partir de cette cartographie, nous proposons le framework UP+ qui synthétise et revisite ces outils d’un point de vue de l’ingénierie des systèmes interactifs persuasifs.
... These screen-based displays tend to use either natural metaphors or symbols for encoding data. The focus tends to be in mapping layers of information into art-like compositions, typically in the form of pictures or posters [6]. Often these systems adopt a wallbased, 'Informative Art' approach [6]. ...
... The focus tends to be in mapping layers of information into art-like compositions, typically in the form of pictures or posters [6]. Often these systems adopt a wallbased, 'Informative Art' approach [6]. ...
... This Informative Art approach is well documented where screen-based technologies are typically used to visualize a live data source by enhancing the attributes of an existing artwork. For example, the work of Piet Mondrian has been the inspiration for a dynamic display where the volume of email received is represented through the size of colored shapes [6]. ...
A systematic review of 459 Ambient Displays, reported in 410 publications between 1996 and 2016 was used as the basis for an analysis of the high-level design features associated with the technology. An analysis of these displays considers three main aspects: the modalities used to display information, the physical form of the displays and the level of implemented interaction. The paper provides a longitudinal overview of the various forms of Ambient Displays over a twenty-year period. This allows for the provision of a comprehensive timeline of past work in the field of Ambient Display and establishes a sound basis for further reviews or studies related to this technology.
... Although specific, strictly centered on feedback and its visual design, this design space considers multiple sources of motivation, in particular emotions and aesthetics. Such an approach is strongly related to informative art, another research field [48,76,150]. ...
... Indeed, eco-feedbacks, eco-visualization, or persuasive systems often feature an ambient/artistic approach in their design. According to [150], calm technology provides background information that does not continuously force the user to actively pay attention to it. Jafarinaimi [82] and Ferscha [48] noted that calm technology allows the users to interact with the system when they desire, rather than passively receive pushed information from the system. ...
... Redstrom [150] indicates that informative art focuses on how traditional art objects, like paintings and posters, can be augmented. For instance, in order to motivate users to walk more, Nakajima [118] reflects the number of steps which users have walked through the famous painting of Mona Lisa. ...
This thesis is about persuasive interactive systems, a subclass of interactive systems aiming at supporting sustainable behaviors. Persuasive technology is a very recent and emerging topic, which relies on persuasion to support human behavior change voluntarily without coercion and deception.In this research, we focus the design of persuasive system for promoting behaviors change with energy as application domain. In the interest of preserving the planet, reducing domestic energy use is necessary for fighting against global warming and climate change issues. The approach to save energy by introducing more efficient appliances only tackles partially the current issues. An urgent need is to motivate sustainable behaviors in energy usage. However, changing people behaviors involves a complex and difficult process.The challenge is to design interactive systems that take into account this process dimension and that keep users involved over time in the process of behavior change. Consequently, based on a review of classifications, design spaces and frameworks targeting the design of persuasive systems, we propose the UP+ framework, our first and conceptual contribution. It considers three dimensions: two related to the process aspect of behavior change, at two levels: micro (cause-effect-causality) and macro (long term)); one related to the psychological aspects of motivation.Based on the UP+ framework, we conduct a state of the art of existing persuasive systems for energy. It reveals that most of these systems covers a few persuasive functions only (e.g., self-surveillance or eco-feedback). In this work, we particularly focus on decision and causality of behavior. A second contribution is the Mondrian User Interface, a proof-of-concept of UI designed to sustain daily use and to keep inhabitants motivated in the long run. We consider thrre goals: to catch user’s attention; to offer multiple levels of user interaction depending on the context of use; to allow the integration of interactional bricks supporting persuasion. Particularly, we propose two bricks, Sliders4DM and Plan4Actions.In order to assist inhabitants in preparing a change (decision), Sliders4DM is a novel widget allowing non-specialists to find an appropriate trade-off between (possibly) conflicting criteria in the home via what-if approach. Sliders4DM is evaluated with two experiments: a qualitative one (16 participants) and a quantitative comparative one (177 participants). Plan4Actions is a novel concept of user interface for planning daily actions. The concept is empowered by the co-decision between inhabitants and the home management system. It provides inhabitants with flexibility in planning their daily actions in order to satisfy their objectives in terms of comfort and sobriety. A twofold evaluation presented a favorable assessment from 13 participants about Plan4actions’ comprehension, its usability and potential utility in the domestic context.We also discuss the limitations related to persuasive interaction covered by current works and the needs for a long-term evaluation to mesure the behavior changes. The thesis opens new perspectives for extending current research of PIS for energy. To conclude, we define our future works, which involves short-term improvements for current prototype and its deployment in real domestic context.