Visual Notation: An Image Making Approach for Communication in Illustration Education

2019 ◽  
Vol 10 (2) ◽  
pp. 1-9
Author(s):  
Joanne Mignone ◽  
David Blaiklock
Keyword(s):  
Visual Notation

scholarly journals A Visual Notation for the Representation of Assurance Cases Using SACM

2020 ◽  
pp. 3-18
Author(s):  
Nungki Selviandro ◽  
Richard Hawkins ◽  
Ibrahim Habli
Keyword(s):  
Assurance Cases ◽  
Visual Notation

scholarly journals The Role of Visual Tools in a Web Application Design and Verification Framework: A Visual Notation for LTL Formulae

2005 ◽  
pp. 557-568 ◽  
Author(s):  
Marco Brambilla ◽  
Alin Deutsch ◽  
Liying Sui ◽  
Victor Vianu
Keyword(s):  
Web Application ◽  
Visual Notation ◽  
Application Design

scholarly journals Modeling dialogue with mixed initiative in design space exploration

2006 ◽  
Vol 20 (2) ◽  
pp. 129-142 ◽  
Author(s):  
SAMBIT DATTA
Keyword(s):  
Design Space Exploration ◽  
Design Space ◽  
Space Exploration ◽  
Computer Assisted ◽  
Computational Tools ◽  
Computer Assisted Design ◽  
Multiple Threads ◽  
Space Formalism ◽  
Mixed Initiative ◽  
Visual Notation

Exploration with a generative formalism must necessarily account for the nature of interaction between humans and the design space explorer. Established accounts of design interaction are made complicated by two propositions in Woodbury and Burrow's Keynote on design space exploration. First, the emphasis on the primacy of the design space as an ordered collection of partial designs (version, alternatives, extensions). Few studies exist in the design interaction literature on working with multiple threads simultaneously. Second, the need to situate, aid, and amplify human design intentions using computational tools. Although specific research and practice tools on amplification (sketching, generation, variation) have had success, there is a lack of generic, flexible, interoperable, and extensible representation to support amplification. This paper addresses the above, working with design threads and computer-assisted design amplification through a theoretical model of dialogue based on Grice's model of rational conversation. Using the concept of mixed initiative, the paper presents a visual notation for representing dialogue between designer and design space formalism through abstract examples of exploration tasks and dialogue integration.

A New Morphological Notation for the Music of Humpback Whales

2015 ◽  
Vol 3 (3) ◽  
pp. 347-358 ◽  
Author(s):  
David Rothenberg ◽  
Michael Deal
Keyword(s):  
Human Perception ◽  
Humpback Whale ◽  
Humpback Whales ◽  
Inherent Characteristic ◽  
New Form ◽  
Visual Notation

The humpback whale sings a song that defies easy characterization and human perception. This paper attempts to develop a new form a visual notation for this song which enables humans to better perceive its musicality, tonality and morphology, combining elements of sonographic and musical notations. The beauty of the humpback whale song is considered as to whether it is an inherent characteristic or a human projection.

scholarly journals Adapt or Perish: Algebra and Visual Notation for Service Interface Adaptation

2006 ◽  
pp. 65-80 ◽  
Author(s):  
Marlon Dumas ◽  
Murray Spork ◽  
Kenneth Wang
Keyword(s):  
Interface Adaptation ◽  
Visual Notation ◽  
Service Interface

scholarly journals BPSL Modeler – Visual Notation Language for Intuitive Business Property Reasoning

2008 ◽  
Vol 211 ◽  
pp. 211-220 ◽  
Author(s):  
Ke Xu ◽  
Ying Liu ◽  
Cheng Wu
Keyword(s):  
Business Property ◽  
Visual Notation

Analysing the cognitive effectiveness of the WebML visual notation

2015 ◽  
Vol 16 (1) ◽  
pp. 195-227 ◽  
Author(s):  
David Granada ◽  
Juan Manuel Vara ◽  
Marco Brambilla ◽  
Verónica Bollati ◽  
Esperanza Marcos
Keyword(s):  
Visual Notation

A text-based visual notation for the unit testing of model-driven tools

2017 ◽  
Vol 49 ◽  
pp. 196-215
Author(s):  
Daniel Strüber ◽  
Felix Rieger ◽  
Gabriele Taentzer
Keyword(s):  
Unit Testing ◽  
Model Driven ◽  
Visual Notation

Profiles of Processing: Eye Movements during Sightreading

1994 ◽  
Vol 12 (1) ◽  
pp. 97-123 ◽  
Author(s):  
Thomas W. Goolsby
Keyword(s):  
Eye Movement ◽  
Music Perception ◽  
Performance Support ◽  
Music Notation ◽  
Skilled Reader ◽  
Perceptual Span ◽  
Visual Detail ◽  
Musical Perception ◽  
Visual Notation ◽  
Processing Language

Temporal and sequential components of the eye movement used by a skilled and a less-skilled sightreader were used to construct six profiles of processing. Each subject read three melodies of varying levels of concentration of visual detail. The profiles indicates the order, duration, and location of each fixation while the subjects sightread the melodies. Results indicate that music readers do not fixate on note stems or the bar lines that connect eighth notes when sightreading. The less-skilled music reader progressed through the melody virtually note-by-note using long fixations, whereas the skilled sightreader directed fixations to all areas of the notation (using more regressions than the less-skilled reader) to perform the music accurately. Results support earlier findings that skilled sightreaders look farther ahead in the notation, then back to the point of performance (Goolsby, 1994), and have a larger perceptual span than less-skilled sightreaders. Findings support Slobodans (1984) contention that music reading (i. e., sightreading) is indeed music perception, because music notation is processed before performance. Support was found for Sloboda's (1977, 1984, 1985, 1988) hypotheses on the effects of physical and structural boundaries on visual musical perception. The profiles indicate a number of differences between music perception from processing visual notation and perception resulting from language reading. These differences include: (1) opposite trends in the control of eye movement (i. e., the better music reader fixates in blank areas of the visual stimuli and not directly on each item of the information that was performed), (2) a perceptual span that is vertical as well as horizontal, (3) more eye movement associated with the better reader, and (4) greater attention used for processing language than for music, although the latter task requires an "exact realization."

Sign in / Sign up

Export Citation Format

Share Document