User interfaces for mobile, desktop, Web, and vehicle platforms reach across culturally diverse user communities, sometimes within a single country/language group, and certainly across the globe. If user interfaces are to be usable, useful, and appealing to such a wide range of users, userinterface/user-experience developers must account for cultural aspects in globalizing/localizing products and services. In this tutorial, participants will learn practical principles and techniques that are immediately useful in terms of both analysis and design tasks.
{"title":"Cross-cultural user-experience design for work, home, play, and on the way","authors":"","doi":"10.1145/2659467.2675051","DOIUrl":"https://doi.org/10.1145/2659467.2675051","url":null,"abstract":"User interfaces for mobile, desktop, Web, and vehicle platforms reach across culturally diverse user communities, sometimes within a single country/language group, and certainly across the globe. If user interfaces are to be usable, useful, and appealing to such a wide range of users, userinterface/user-experience developers must account for cultural aspects in globalizing/localizing products and services. In this tutorial, participants will learn practical principles and techniques that are immediately useful in terms of both analysis and design tasks.","PeriodicalId":415661,"journal":{"name":"SIGGRAPH Asia 2014 Courses","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130678413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
HCI in Sci-Fi Movies and Television will summarize and analyze the past 100 years of human-computer interaction as incorporated into sciencefiction cinema and videos, beginning with the advent of movies in the early 1900s (Melies' "A Trip to the Moon," which was recently referenced in the recent movie "Hugo"). For many decades movies have shown technology in advance of its commercialization (for example, video phones and wall-sized television displays, hand-gesture systems, and virtual reality displays). In some cases mistaken views about what is usable, useful, and appealing seem to be adopted, perhaps because of their cinematic benefits. In any case, these media have served as informal "test-beds" for new technologies of human-computer interaction and communication. They provide ample evidence for heuristic evaluations, ethnographic enalysis, market analysis, critique of personas and use scenarios, and new approaches to conceptual and visual design. The course will explore issues of what is "futuristic" and what is not, gender-role differences, optimism/pessimism, and user-centered design characteristics in more than two dozen films and a half-dozen television shows. Examples from China, India, and Japan will also be referenced. Participants will be informally quizzed about their recognition of the media examples shown and their analysis of contexts, technologies, business models, user communities, and designs . Discussion with participants throughout the presentation will be encouraged. Tutorial Slides, Publications, and Bibliographies Presentation slides appear on the following pages, after which appear publication resources with bibliographies.
{"title":"The past 100 year of the future: CHI/HCI/UX in sci-Fi movies and television","authors":"A. Marcus","doi":"10.1145/2659467.2659472","DOIUrl":"https://doi.org/10.1145/2659467.2659472","url":null,"abstract":"HCI in Sci-Fi Movies and Television will summarize and analyze the past 100 years of human-computer interaction as incorporated into sciencefiction cinema and videos, beginning with the advent of movies in the early 1900s (Melies' \"A Trip to the Moon,\" which was recently referenced in the recent movie \"Hugo\"). For many decades movies have shown technology in advance of its commercialization (for example, video phones and wall-sized television displays, hand-gesture systems, and virtual reality displays). In some cases mistaken views about what is usable, useful, and appealing seem to be adopted, perhaps because of their cinematic benefits. In any case, these media have served as informal \"test-beds\" for new technologies of human-computer interaction and communication. They provide ample evidence for heuristic evaluations, ethnographic enalysis, market analysis, critique of personas and use scenarios, and new approaches to conceptual and visual design. The course will explore issues of what is \"futuristic\" and what is not, gender-role differences, optimism/pessimism, and user-centered design characteristics in more than two dozen films and a half-dozen television shows. Examples from China, India, and Japan will also be referenced. Participants will be informally quizzed about their recognition of the media examples shown and their analysis of contexts, technologies, business models, user communities, and designs . Discussion with participants throughout the presentation will be encouraged. Tutorial Slides, Publications, and Bibliographies Presentation slides appear on the following pages, after which appear publication resources with bibliographies.","PeriodicalId":415661,"journal":{"name":"SIGGRAPH Asia 2014 Courses","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131561977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Academia vs. industry in graphics","authors":"Peter-Pike J. Sloan","doi":"10.1145/2659467.2691600","DOIUrl":"https://doi.org/10.1145/2659467.2691600","url":null,"abstract":"","PeriodicalId":415661,"journal":{"name":"SIGGRAPH Asia 2014 Courses","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115274827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
classroom use is granted without fee provided that copies are not made or distributed for commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the Owner/Author. SIGGRAPH Asia 2014, December 03 – 06, 2014, Shenzhen, China. 2014 Copyright held by the Owner/Author. ACM 978-1-4503-319501/14/12 http://dx.doi.org/10.1145/2659467.2659478 Internal Use Only Motion Capture for
{"title":"Motion capture for mobile phones","authors":"Jackson Feijó Filho","doi":"10.1145/2659467.2659478","DOIUrl":"https://doi.org/10.1145/2659467.2659478","url":null,"abstract":"classroom use is granted without fee provided that copies are not made or distributed for commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the Owner/Author. SIGGRAPH Asia 2014, December 03 – 06, 2014, Shenzhen, China. 2014 Copyright held by the Owner/Author. ACM 978-1-4503-319501/14/12 http://dx.doi.org/10.1145/2659467.2659478 Internal Use Only Motion Capture for","PeriodicalId":415661,"journal":{"name":"SIGGRAPH Asia 2014 Courses","volume":"212 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124181025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the Owner/Author.
{"title":"How to design and build musical interfaces","authors":"Michael J. Lyons","doi":"10.1145/2659467.2659470","DOIUrl":"https://doi.org/10.1145/2659467.2659470","url":null,"abstract":"Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the Owner/Author.","PeriodicalId":415661,"journal":{"name":"SIGGRAPH Asia 2014 Courses","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128937759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This course has been designed for programmers, game designers, technical directors, modelers, and animators whose work is essential in making "the story" come to life. This information can be particularly useful when communicating with game designers, directors, writers, and producers. This course answers the question "how are stories developed?" (and you don't even have to take a course in screenwriting). Engaging with numerous clips to show how this has been used in games, animation, and VFX. The purpose is to take the mystery out of "storytelling" for those programmers, animators, and game designers whose work is essential in making Animation, VFX, and Games successful. The attendees will know the basic techniques of story development, so the next time a producer or director talk about what they want for the story, they will know what specific story benchmarks the producer/director are trying to meet in connecting emotionally with an audience. This course will build from the knowledge that story "is a sequence of events (acts) that builds to a climax...." and then lays out universal techniques of story that make up plot, character development, and narrative structure. This course answers the question "how stories are developed?" (and you don't even have to take a course in screenwriting). Entertaining with numerous clips to show how this has been used in animation and VFX. It is often expected that the story will generate emotion in an audience/player. To make this happen story development relies on its own techniques of iteration, brainstorming, research, adaptation, and what-if scenarios. This course is for those that want to understand how to develop their story ideas into great storytelling. Ironically, even bad ideas can become incredible through excellent development and execution... Breaking Bad (Idea- meth cookers) or Ratatouille (Idea - semi-realistic rat wants to become a French chef [Jeffrey Katzenberg, President Dreamworks Animation]).
{"title":"Bringing stories to life... developing the narrative for games, animation, and VFX","authors":"C. Caldwell","doi":"10.1145/2659467.2659476","DOIUrl":"https://doi.org/10.1145/2659467.2659476","url":null,"abstract":"This course has been designed for programmers, game designers, technical directors, modelers, and animators whose work is essential in making \"the story\" come to life. This information can be particularly useful when communicating with game designers, directors, writers, and producers. This course answers the question \"how are stories developed?\" (and you don't even have to take a course in screenwriting). Engaging with numerous clips to show how this has been used in games, animation, and VFX. The purpose is to take the mystery out of \"storytelling\" for those programmers, animators, and game designers whose work is essential in making Animation, VFX, and Games successful. The attendees will know the basic techniques of story development, so the next time a producer or director talk about what they want for the story, they will know what specific story benchmarks the producer/director are trying to meet in connecting emotionally with an audience. This course will build from the knowledge that story \"is a sequence of events (acts) that builds to a climax....\" and then lays out universal techniques of story that make up plot, character development, and narrative structure. This course answers the question \"how stories are developed?\" (and you don't even have to take a course in screenwriting). Entertaining with numerous clips to show how this has been used in animation and VFX. It is often expected that the story will generate emotion in an audience/player. To make this happen story development relies on its own techniques of iteration, brainstorming, research, adaptation, and what-if scenarios. This course is for those that want to understand how to develop their story ideas into great storytelling. Ironically, even bad ideas can become incredible through excellent development and execution... Breaking Bad (Idea- meth cookers) or Ratatouille (Idea - semi-realistic rat wants to become a French chef [Jeffrey Katzenberg, President Dreamworks Animation]).","PeriodicalId":415661,"journal":{"name":"SIGGRAPH Asia 2014 Courses","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123717527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With parallel coordinates (abbr. ||-coords) the perceptual barrier imposed by our 3-dimensional habitation is breached enabling the visualization of multidimensional problems. The representation of N-dimensional points by polygonal lines is deceptively simple and additional ideas are needed to represent multivariate relations. In this talk, a panorama of highlights from the foundations to the most recent results, and interlaced with applications, are intuitively developed. This is also an opportunity to demystify some subtleties.By learning to untangle patterns from ||-coords displays (Fig. 1, 2) a powerful knowledge discovery process has evolved. It is illustrated on a real dataset together with guidelines for exploration and good query design. Realizing that this approach is intrinsically limited (see Fig. 3 -- left) leads to a deeper geometrical insight, the recognition of M-dimensional objects recursively from their (M-- 1)-dimensional subsets (Fig. 3 -- right). Behind this striking cognitive success lies a special family of planes unique to ||-coords, the superplanes, whose points are represented by straight (rather than polygonal) lines. It emerges that any linear N-dimensionsal relation is represented by (N-- 1) indexed points. Points representing lines have two indices, points representing planes 3 indices and so on. In turn, powerful geometrical algorithms (e.g. for intersections, containment, proximities) and applications including classification Fig. 4 emerge. The classifier's power is demonstrated by obtaining a rule for the recognition of hostile vehicles from afar by their noise signature.A smooth surface in 3-D is the envelope of its tangent planes each of which is represented by 2 points Fig. 6. As a result, a surface in 3-D is represented by two planar regions and in N-dimensions by (N-- 1) regions. This is equivalent to representing a surface by its normal vectors, rather than projections as in standard surface descriptions. Developable surfaces are represented by curves Fig. 7 revealing the surfaces' characteristics. Convex surfaces in any dimension are recognized by the hyperbola-like (i.e. having two assymptotes) regions from just one orientation Fig. 5 -- right, Fig. 8, Fig. 10 -- right. Non-orientable surfaces (i.e. like the Mobius strip) yield stunning patterns Fig. 9 unlocking new geometrical insights. Non-convexities like folds, bumps, coiling, dimples and more are no longer hidden Fig. 10 -- left and are detected from just one orientation. Evidently this representation is preferable for some applications even in 3-D. By the way, many of these results were first discovered visually and then proved mathematically; in the true spirit of Geometry.These state of the art examples show what has been achieved on the representation of complex relations and how they generalize to N-dimensions. The patterns persist in the presence of errors deforming in ways revealing the type and magnitude of the errors and that's good news for t
{"title":"Parallel coordinates are better than they... look!","authors":"A. Inselberg","doi":"10.1145/2659467.2675049","DOIUrl":"https://doi.org/10.1145/2659467.2675049","url":null,"abstract":"With parallel coordinates (abbr. ||-coords) the perceptual barrier imposed by our 3-dimensional habitation is breached enabling the visualization of multidimensional problems. The representation of N-dimensional points by polygonal lines is deceptively simple and additional ideas are needed to represent multivariate relations. In this talk, a panorama of highlights from the foundations to the most recent results, and interlaced with applications, are intuitively developed. This is also an opportunity to demystify some subtleties.By learning to untangle patterns from ||-coords displays (Fig. 1, 2) a powerful knowledge discovery process has evolved. It is illustrated on a real dataset together with guidelines for exploration and good query design. Realizing that this approach is intrinsically limited (see Fig. 3 -- left) leads to a deeper geometrical insight, the recognition of M-dimensional objects recursively from their (M-- 1)-dimensional subsets (Fig. 3 -- right). Behind this striking cognitive success lies a special family of planes unique to ||-coords, the superplanes, whose points are represented by straight (rather than polygonal) lines. It emerges that any linear N-dimensionsal relation is represented by (N-- 1) indexed points. Points representing lines have two indices, points representing planes 3 indices and so on. In turn, powerful geometrical algorithms (e.g. for intersections, containment, proximities) and applications including classification Fig. 4 emerge. The classifier's power is demonstrated by obtaining a rule for the recognition of hostile vehicles from afar by their noise signature.A smooth surface in 3-D is the envelope of its tangent planes each of which is represented by 2 points Fig. 6. As a result, a surface in 3-D is represented by two planar regions and in N-dimensions by (N-- 1) regions. This is equivalent to representing a surface by its normal vectors, rather than projections as in standard surface descriptions. Developable surfaces are represented by curves Fig. 7 revealing the surfaces' characteristics. Convex surfaces in any dimension are recognized by the hyperbola-like (i.e. having two assymptotes) regions from just one orientation Fig. 5 -- right, Fig. 8, Fig. 10 -- right. Non-orientable surfaces (i.e. like the Mobius strip) yield stunning patterns Fig. 9 unlocking new geometrical insights. Non-convexities like folds, bumps, coiling, dimples and more are no longer hidden Fig. 10 -- left and are detected from just one orientation. Evidently this representation is preferable for some applications even in 3-D. By the way, many of these results were first discovered visually and then proved mathematically; in the true spirit of Geometry.These state of the art examples show what has been achieved on the representation of complex relations and how they generalize to N-dimensions. The patterns persist in the presence of errors deforming in ways revealing the type and magnitude of the errors and that's good news for t","PeriodicalId":415661,"journal":{"name":"SIGGRAPH Asia 2014 Courses","volume":"2014 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127403690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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