The Experts below are selected from a list of 15177 Experts worldwide ranked by ideXlab platform
John Stasko - One of the best experts on this subject based on the ideXlab platform.
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the information mural a technique for displaying and navigating large information spaces
IEEE Transactions on Visualization and Computer Graphics, 1998Co-Authors: Dean Frederick Jerding, John StaskoAbstract:Information visualizations must allow users to browse information spaces and focus quickly on items of interest. Being able to see some representation of the entire information space provides an initial gestalt overview and gives context to support browsing and search tasks. However, the limited number of pixels on the screen constrain the information bandwidth and make it difficult to completely display large information spaces. The Information Mural is a two-dimensional, reduced representation of an entire information space that fits entirely within a display window or screen. The Mural creates a miniature version of the information space using visual attributes, such as gray-scale shading, intensity, color, and pixel size, along with antialiased compression techniques. Information Murals can be used as stand-alone visualizations or in global navigational views. We have built several prototypes to demonstrate the use of Information Murals in visualization applications; subject matter for these views includes computer software, scientific data, text documents and geographic information.
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the information mural a technique for displaying and navigating large information spaces
IEEE Symposium on Information Visualization, 1995Co-Authors: Dean Frederick Jerding, John StaskoAbstract:Visualizations which depict entire information spaces provide context for navigation and browsing tasks; however, the limited size of the display screen makes creating effective global views difficult. We have developed a technique for displaying and navigating large information spaces. The key concept is the use of an information mural, a two-dimensional reduced representation of an entire information space that fits completely within a display window or screen. Information Murals use grayscale shading and color along with anti-aliasing techniques to create a miniature version of the entire data set. By incorporating navigational capabilities, information Murals become a tool that can be used as a global view along with more detailed informational displays. Information Murals are utilized in our software visualization research to help depict the execution of object-oriented programs, and can also be used in more general information visualization applications.
Dean Frederick Jerding - One of the best experts on this subject based on the ideXlab platform.
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the information mural a technique for displaying and navigating large information spaces
IEEE Transactions on Visualization and Computer Graphics, 1998Co-Authors: Dean Frederick Jerding, John StaskoAbstract:Information visualizations must allow users to browse information spaces and focus quickly on items of interest. Being able to see some representation of the entire information space provides an initial gestalt overview and gives context to support browsing and search tasks. However, the limited number of pixels on the screen constrain the information bandwidth and make it difficult to completely display large information spaces. The Information Mural is a two-dimensional, reduced representation of an entire information space that fits entirely within a display window or screen. The Mural creates a miniature version of the information space using visual attributes, such as gray-scale shading, intensity, color, and pixel size, along with antialiased compression techniques. Information Murals can be used as stand-alone visualizations or in global navigational views. We have built several prototypes to demonstrate the use of Information Murals in visualization applications; subject matter for these views includes computer software, scientific data, text documents and geographic information.
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the information mural a technique for displaying and navigating large information spaces
IEEE Symposium on Information Visualization, 1995Co-Authors: Dean Frederick Jerding, John StaskoAbstract:Visualizations which depict entire information spaces provide context for navigation and browsing tasks; however, the limited size of the display screen makes creating effective global views difficult. We have developed a technique for displaying and navigating large information spaces. The key concept is the use of an information mural, a two-dimensional reduced representation of an entire information space that fits completely within a display window or screen. Information Murals use grayscale shading and color along with anti-aliasing techniques to create a miniature version of the entire data set. By incorporating navigational capabilities, information Murals become a tool that can be used as a global view along with more detailed informational displays. Information Murals are utilized in our software visualization research to help depict the execution of object-oriented programs, and can also be used in more general information visualization applications.
B C Biermann - One of the best experts on this subject based on the ideXlab platform.
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augmented reality art and public space
International Conference on Computer Graphics and Interactive Techniques, 2018Co-Authors: B C BiermannAbstract:An overview of how AR art has evolved and, in particular, how Heavy Projects' work has transitioned from guerrilla-style AR street art interventions to large scale, interactive, public space Murals working with such clients as the University of Geneva, Qualcomm, SXSW, Google I/O, and San Francisco Design Week. This talk provides workflow examples of "Digital Neuron" AR mural [Geneva, 2016], "Parabola" AR mural [San Francisco, 2017], and "Evolution of an Idea," the largest AR mural in the world [185'x25', San Diego, 2015]. In illuminating these projects, this talk outlines best practices for other digital artists to create outdoor AR artworks. In short, this talk will provide general insight into the progression of AR art, discuss prominent digital artists currently working in this space, and deliver a practical workflow of how to create works in the new medium of interactive AR art.
Capasso Verónica - One of the best experts on this subject based on the ideXlab platform.
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Conflicto social, arte y emociones: hacia la organización, la identificación y los repertorios de acción artísticos
2019Co-Authors: Capasso VerónicaAbstract:In this paper we analyze the relationship between emotions, collective action and art in public space after the flood of April 2, 2013 in La Plata, focusing on a neighborhood assembly. The characteristics of their organization, their mural production, their repertoires of action and identifications and the conflict evidenced by artistic production will be addressed. It is up to the conclusion that the creation of Murals was relevant in two ways. At the social level, it favored that neighbors who did not attend the meetings, approached and shared the collective moment. It is evident here the conformation of a shared affective atmosphere and the generation of bonds of friendship and companionship essential for the functioning and mobilization of the assembly members. At the political level, it generated antagonist relations mainly with the municipality of La Plata. It is visualized that the artistic production was staged but, at the same time, it produced the conflict. The methodology is qualitative and is based on the construction of a case study. We used participant and non-participant observation and semi-structured interviews in a transdisciplinary methodological design, which was composed of social studies of art, social studies of emotions/affections and political theory.Neste artigo analisa-se a relação entre emoções, ação coletiva e arte no espaço público depois da inundação do 2 de abril de 2013 em La Plata, focalizando em uma assembleia de vizinhança. Abordar-se-ão as características de sua organização, sua produção mural, seus repertórios de ação e identificações e o conflito evidenciado a partir de sua produção artística. Conclui-se que a geração de murais foi relevante em dois sentidos. A nível social, favoreceu que vizinhos que não assistiam às reuniões, aproximaram e compartilharam o momento coletivo. Se evidencia a conformação de uma atmosfera afetiva compartilhada e a geração de laços de amizade e companheirismo, que resultaram essenciais para o funcionamento e a mobilização dos membros da assembleia. A nível político, gerou relações de inimizade principalmente com a Municipalidade. Visualiza-se que a produção artística foi colocada em cena, mas, ao mesmo tempo, produziu o conflito. Em quanto à metodologia, qualitativa, baseia-se na construção de um estudo de caso. Recorreu-se à observação participante e não participante, entrevistas semiestruturadas e um desenho metodológico transdisciplinar composto pelos Estudos sociais da arte, os Estudos sociais das emoções/ afetos e a Teoria política.En este artículo se analiza la relación entre emociones, acción colectiva y arte en el espacio público luego de la inundación del 2 de abril de 2013 en La Plata, focalizando en una asamblea vecinal. Se abordarán las características de su organización, su producción mural, sus repertorios de acción e identificaciones y el conflicto evidenciado a partir de su producción artística. Se concluye que la generación de murales fue relevante en dos sentidos. A nivel social, favoreció que vecinos que no asistían a las reuniones se acercaran y compartieran el momento colectivo. Se evidencia la conformación de una atmósfera afectiva compartida y la generación de lazos de amistad y compañerismo, que resultaron esenciales para el funcionamiento y la movilización de los asambleístas. A nivel político, generó relaciones de enemistad, principalmente con la municipalidad. Se visualiza que la producción artística puso en escena pero, a la vez, produjo el conflicto. En cuanto a la metodología, cualitativa, se basa en la construcción de un estudio de caso. Se recurrió a la observación participante y no participante, a entrevistas semiestructuradas y a un diseño metodológico transdisciplinario compuesto por los estudios sociales del arte, los estudios sociales de las emociones/afectos y la teoría política
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Social Conflict, Art and Emotions : Towards Organization, Identification and Artistic Action Repertoire
'Colegio Mayor de Nuestra Senora del Rosario', 2019Co-Authors: Capasso VerónicaAbstract:En este artículo se analiza la relación entre emociones, acción colectiva y arte en el espacio público luego de la inundación del 2 de abril de 2013 en La Plata, focalizando en una asamblea vecinal. Se abordarán las características de su organización, su producción mural, sus repertorios de acción e identificaciones y el conflicto evidenciado a partir de su producción artística. Se concluye que la generación de murales fue relevante en dos sentidos. A nivel social, favoreció que vecinos que no asistían a las reuniones se acercaran y compartieran el momento colectivo. Se evidencia la conformación de una atmósfera afectiva compartida y la generación de lazos de amistad y compañerismo, que resultaron esenciales para el funcionamiento y la movilización de los asambleístas. A nivel político,generó relaciones de enemistad, principalmente con la municipalidad. Se visualiza que la producción artística puso en escena pero, a la vez, produjo el conflicto. En cuanto a la metodología, cualitativa, se basa en la construcción de un estudio de caso. Se recurrió a la observación participante y no participante,a entrevistas semiestructuradas y a un diseño metodológico transdisciplinario compuesto por los estudios sociales del arte, los estudios sociales de las emociones/afectos y la teoría política.In this paper we analyze the relationship between emotions, collective action and art in public space after the flood of April 2, 2013 in La Plata, focusing on a neighborhood assembly. The characteristics of their organization, their mural production, their repertoires of action and identifications and the conflict evidenced by artistic production will be addressed. It is up to the conclusion that the creation of Murals was relevant in two ways. At the social level, it favored that neighbors who did not attend the meetings, approached and shared the collective moment. It is evident here the conformation of a shared affective atmosphere and the generation of bonds of friendship and companionship essential for the functioning and mobilization of the assembly members. At the political level, it generated antagonist relations mainly with the municipality of La Plata. It is visualized that the artistic production was staged but, at the same time, it produced the conflict. The methodology is qualitative and is based on the construction of a case study. We used participant and non-participant observation and semi-structured interviews in a transdisciplinary methodological design, which was composed of social studies of art, social studies of emotions/affections and political theory.Fil: Capasso, Verónica. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina
Capasso, Verónica Cecilia - One of the best experts on this subject based on the ideXlab platform.
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Social Conflict, Art and Emotions: Towards Organization, Identification and Artistic Action Repertoire
2021Co-Authors: Capasso, Verónica CeciliaAbstract:En este artículo se analiza la relación entre emociones, acción colectiva y arte en el espacio público luego de la inundación del 2 de abril de 2013 en La Plata, focalizando en una asamblea vecinal. Se abordarán las características de su organización, su producción mural, sus repertorios de acción e identificaciones y el conflicto evidenciado a partir de su producción artística. Se concluye que la generación de murales fue relevante en dos sentidos. A nivel social, favoreció que vecinos que no asistían a las reuniones se acercaran y compartieran el momento colectivo. Se evidencia la conformación de una atmósfera afectiva compartida y la generación de lazos de amistad y compañerismo, que resultaron esenciales para el funcionamiento y la movilización de los asambleístas. A nivel político, generó relaciones de enemistad, principalmente con la municipalidad. Se visualiza que la producción artística puso en escena pero, a la vez, produjo el conflicto. En cuanto a la metodología, cualitativa, se basa en la construcción de un estudio de caso. Se recurrió a la observación participante y no participante, a entrevistas semiestructuradas y a un diseño metodológico transdisciplinario compuesto por los estudios sociales del arte, los estudios sociales de las emociones/afectos y la teoría política.In this paper we analyze the relationship between emotions, collective action and art in public space after the flood of April 2, 2013 in La Plata, focusing on a neighborhood assembly. The characteristics of their organization, their mural production, their repertoires of action and identifications and the conflict evidenced by artistic production will be addressed. It is up to the conclusion that the creation of Murals was relevant in two ways. At the social level, it favored that neighbors who did not attend the meetings, approached and shared the collective moment. It is evident here the conformation of a shared affective atmosphere and the generation of bonds of friendship and companionship essential for the functioning and mobilization of the assembly members. At the political level, it generated antagonist relations mainly with the municipality of La Plata. It is visualized that the artistic production was staged but, at the same time, it produced the conflict. The methodology is qualitative and is based on the construction of a case study. We used participant and non-participant observation and semi-structured interviews in a transdisciplinary methodological design, which was composed of social studies of art, social studies of emotions/affections and political theory.Dossier: Emociones, movilización social y políticaInstituto de Investigaciones en Humanidades y Ciencias Sociale
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Conflito social, arte e emoções: para a organização, a identificação e os repertórios de ação artísticos
'Colegio Mayor de Nuestra Senora del Rosario', 2020Co-Authors: Capasso, Verónica CeciliaAbstract:En este artículo se analiza la relación entre emociones, acción colectiva y arte en el espacio público luego de la inundación del 2 de abril de 2013 en La Plata, focalizando en una asamblea vecinal. Se abordarán las características de su organización, su producción mural, sus repertorios de acción e identificaciones y el conflicto evidenciado a partir de su producción artística. Se concluye que la generación de murales fue relevante en dos sentidos. A nivel social, favoreció que vecinos que no asistían a las reuniones se acercaran y compartieran el momento colectivo. Se evidencia la conformación de una atmósfera afectiva compartida y la generación de lazos de amistad y compañerismo, que resultaron esenciales para el funcionamiento y la movilización de los asambleístas. A nivel político, generó relaciones de enemistad, principalmente con la municipalidad. Se visualiza que la producción artística puso en escena pero, a la vez, produjo el conflicto. En cuanto a la metodología, cualitativa, se basa en la construcción de un estudio de caso. Se recurrió a la observación participante y no participante, a entrevistas semiestructuradas y a un diseño metodológico transdisciplinario compuesto por los estudios sociales del arte, los estudios sociales de las emociones/afectos y la teoría política.In this paper we analyze the relationship between emotions, collective action and art in public space after the flood of April 2, 2013 in La Plata, focusing on a neighborhood assembly. The characteristics of their organization, their mural production, their repertoires of action and identifications and the conflict evidenced by artistic production will be addressed. It is up to the conclusion that the creation of Murals was relevant in two ways. At the social level, it favored that neighbors who did not attend the meetings, approached and shared the collective moment. It is evident here the conformation of a shared affective atmosphere and the generation of bonds of friendship and companionship essential for the functioning and mobilization of the assembly members. At the political level, it generated antagonist relations mainly with the municipality of La Plata. It is visualized that the artistic production was staged but, at the same time, it produced the conflict. The methodology is qualitative and is based on the construction of a case study. We used participant and non-participant observation and semi-structured interviews in a transdisciplinary methodological design, which was composed of social studies of art, social studies of emotions/affections and political theory
