Knowledge Visualization Currents (eBook)

Dr. Francis T. Marchese is Professor of Computer Science at Pace University, New York, USA, where he is the founder and director of Pace’s Center for Advanced Media and the Pace Digital Gallery. Dr. Ebad Banissi is Professor of Business Informatics at London South Bank University, UK, where he heads the Visualisation and Graphics Research Unit.

Preface 5
I. Knowledge Visualization 5
II. Text 6
III. Art 6
IV. Culture 7
Acknowledgements 9
Contents 10
Contributors 12
Part I Knowledge Visualization Background 15
Chapter 1 What Is an Effective Knowledge Visualization? 
 
16 
1.1 Introduction 16
1.2 The Realm of Knowledge Visualization 17
1.3 A Review of Seminal Concepts 19
1.4 Select Seminal Concepts in Detail 21
1.5 Implications 23
1.6 Conclusion 24
References 24
Chapter 
26 
2.1 Introduction 27
2.2 Beyond Text: The Graphical Structuring of Knowledge 27
2.3 Conveying Knowledge Through Storytelling 29
2.4 What Is Cooking? Visualization as a Recipe for Success 31
2.5 The Missing Step in Discovering New Knowledge from Data 32
2.6 Connecting Foundations of Knowledge Visualizationfrom Science to Art to Culture 34
2.7 Visualization Beyond PowerPoint 36
2.8 Empower Public Discourse on Challenges Involving Complex Data 37
2.9 The Doodle Evolution: Back to the Roots in Visual Thinking 39
2.10 What Is Knowledge Visualization? 41
References 44
Part II Text 46
Chapter 
47 
3.1 Introduction 47
3.2 Background 48
3.3 Early Tabular Correlations 50
3.4 Chronologies 51
3.5 Canon Tables 53
3.6 Medieval Calendars 57
3.7 Expanding the Grid 61
3.8 Conceptual Tables 64
3.9 Moving Beyond the Grid 66
3.10 Analysis 68
3.11 Conclusions 70
References 71
Chapter 
74 
4.1 Contracts: Challenges in Research and in Practice 74
4.1.1 Perfect (Complex) or Good Enough (Usable) Contracts? 75
4.1.2 Contract Puzzle: It Takes A Team 76
4.2 Experiments to Enhance Contract Clarity and Usability 77
4.2.1 The Framework: A Proactive Approach to Law 78
4.2.2 Information Design: Beyond Plain Language 79
4.2.3 Legal Visualization: Beyond Text in Legal Design 80
4.3 Time for a Visual Turn in Contracting? 82
4.3.1 How Visualization Could Have Prevented a Legal Problem 84
4.3.2 Examples of Contract Simplification and Visualization 85
4.3.3 A Sea Change Waiting to Happen 88
4.4 Conclusion 89
References 90
Chapter 
96 
5.1 Introduction 96
5.2 Challenges 98
5.3 Related Work 100
5.3.1 A Brief Overview on Text and Document Visualization 100
5.3.1.1 Text Representations 101
5.3.1.2 Corpora Representations 102
5.3.2 Representing Wine Descriptions and Tastings 103
5.4 Notes on the Data Set 104
5.5 Visualization Framework 105
5.5.1 Visual Representations 105
5.5.2 Interaction and Coordinated Views 108
5.5.3 Implementation Aspects 114
5.6 Results 115
5.6.1 Use-case 116
5.7 Conclusions and Future Work 118
References 119
Part III Art 122
Chapter 
123 
6.1 Introduction 123
6.2 Related Work 125
6.3 Technical Components of Colorscore 125
6.3.1 Analysis of Musical Structure 126
6.3.1.1 Providing the Patterns to Determine the Role 126
6.3.1.2 Generating the Initial Note-Blocks 126
6.3.1.3 Pattern Matching of Blocks with Patterns 127
6.3.2 Visualization of Note-Blocks 128
6.3.3 Vertical Condensation 129
6.3.4 Horizontal Condensation 129
6.3.5 User Interface 129
6.4 Results 130
6.4.1 Visualization 130
6.4.2 Vertical Condensation 130
6.4.3 Horizontal Condensation 131
6.5 Evaluations 132
6.5.1 Understanding of Novice Examinees 133
6.5.2 Feedbacks from Music-Computing Researchers 134
6.5.2.1 Discoveries from the Visualization Result 134
6.5.2.2 Possible Applications 135
6.5.2.3 Concerns 135
6.5.2.4 Potential Future Issues 136
6.5.3 Arrangement by Vertical Condensation 136
6.6 Conclusion and Future Work 137
References 138
Chapter 
139 
7.1 Introduction 139
7.2 The Projected Image 140
7.3 Where 3D Computer Graphics Emulates the Masters' Techniques 147
7.4 On Reflection 153
References 154
Chapter 8 Practice of Using Virtual Reconstruction in the 
 
 
 
156 
8.1 Reconstruction of Art and Cultural Monuments 156
8.2 About the Nereditsa Project 157
8.3 Virtual Reconstruction of the Church of the Transfiguration of Our Saviour on Nereditsa Hill 158
8.4 Reconstruction Method for the Church of the Transfiguration of Our Saviour on Nereditsa Hill 160
8.4.1 Collecting Supporting Information for the Project 160
8.4.2 Measurements of the Existing Interior and Exterior 161
8.4.3 Making Photographs of the Existing Interior 162
8.4.4 Making Photographs and Scanning Extant Fragments of Frescos Kept in Museum Collections 162
8.4.5 Making a Single-Tone Image Based on Archival Photographs 163
8.4.6 Creation of Scheme to Estimate an Author's Drawing 163
8.4.7 Making Sweeps of Walls with Extant Fresco Fragments Obtained from Museum's Collections 164
8.4.8 Production of a Coloristic Painting Map 166
8.4.9 Producing Linear Patterns at a 1:1 Scale (Performed Only in Artistic Reconstruction, as the Basis for Paintings) 168
8.4.10 Creation of Artistically Colored Cardboards the Same Size as Real Frescos or Smaller (Working Models) 169
8.4.11 Making Sweeps of the Walls 170
8.4.12 Visualization, Production of Three-Dimensional Color Modeling 170
References 173
Part IV Culture 174
Chapter 9 Mediation of Knowledge Construction of 
 
175 
9.1 Introduction 175
9.2 Mediation bold0mu mumu ++Raw++++ Space 176
9.2.1 Development of Typologies of Mediation Strategies 177
9.2.1.1 A Mediation Framework 177
9.3 Mediation Strategies to Enhance Interaction 179
9.3.1 Design Guidelines for Mediation of Cultural Heritage 180
9.4 A Mediation Scenario 181
9.4.1 Vestige: An Interpretation of ``Mediation'' 182
9.4.2 Applying Design Guidelines 183
9.5 Conclusions 184
References 184
Chapter 10 Memory, Difference, and Information: 
 
 
186 
10.1 Introduction to LabStudio 187
10.2 Introduction 188
10.3 Background 191
10.3.1 Information Theory 191
10.3.2 Spatial Perception, Art, and Information 191
10.4 Methods for Establishing Difference and the Generationof Information 193
10.4.1 Difference 193
10.4.2 History/Memory 194
10.5 Case Studies 195
10.5.1 A Note on Data Acquisition 195
10.5.2 Case Study I: Information Mapping of Biological Behaviors 196
10.5.3 Case Study II: Information Mapping and Spatial Perception 197
10.6 Method for Developing Gradient Intensity Distribution Signatures of Perceptual Data 198
10.6.1 Overview 198
10.6.2 Method of Gradient Extraction and Mapping 199
10.7 Method for Developing Curvature Intensity Distribution Signatures for Autonomous Objects and Environments 200
10.7.1 Overview 200
10.7.2 Method of Curvature Intensity Mapping 201
10.8 Conclusion and Discussion 203
References 204
Additional Bibliography 204
Chapter 
205 
11.1 Introduction 205
11.1.1 Advanced Visualization and Interaction Environment 207
11.2 Experimental Projects 207
11.3 Techniques for Cultural Visualization 208
11.3.1 Cultural Databases and Visualization 208
11.3.2 Phenomenology and Visualization 211
11.4 Project Descriptions 211
11.4.1 Data Sculpture Museum1 211
11.4.2 ECloud 213
11.4.3 Blue Dots 360 215
11.4.4 Rhizome of the Western Han 219
11.4.5 Pure Land 221
11.5 Conclusion 223
References 224
Index 227