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AbstractBased on the knowledge generation model for visual analytics including uncertainty propagation and human trust building (Sacha et al. 2016), the cognitive theory of multimedia learning (Mayer, 2014), the multimedia principle (Butcher, 2014), and previous studies on the effects of different uncertainty visualization styles, an integrated theoretical approach is proposed to examine the influence of different degrees of information uncertainty and different uncertainty visualization styles on processing pictures of two archeological reconstructions with accompanying audio explanations presented in a multimedia learning environment. A 4 × 3 design with condition (without uncertainty visualization vs. stop light colors vs. geometric contrast vs. both uncertainty visualizations) as the between-subjects factor and uncertainty value (uncertain vs. medium vs. certain) as the within-subject factor was used. The results showed that appearance of certain content, its uncertainty values, and their verbal scientific justifications were remembered better than uncertain ones. Furthermore, stop light colors enhanced the memory of uncertainty values compared to no uncertainty visualization and were better understood, discriminated, and transferred than geometric contrast. Geometric contrast decreased the memory of the appearance of uncertain architectural elements compared to no uncertainty visualization and was better than stop light colors regarding the memory of the appearance of certain architectural elements. The study integrates and extends existing theories by showing that certain contents are processed with higher priority than uncertain contents and that the multimedia effect is also valid for metainformation such as the uncertainties of contents. Finally, recommendations for designing learning material including uncertainty visualizations are given.
In the present study, we investigated the role of digital zoom as a tool for directing attention while looking at visual learning material. In particular, we analyzed
whether minimal digital zoom functions similarly to a rhetorical device by cueing mental zooming of attention accordingly. Participants were presented either static film clips, film clips with minimal zoom-ins, or film clips with minimal zoom-outs while eye movements were recorded. We hypothesized that minimal zoom-ins should lead to more gaze
coherence, to longer dwell times as an indicator of more elaborative processing, and to fewer transitions as an indicator of less mental integration. Zoom-outs, on the other hand, were expected to have opposite effects. Results showed that zoom-ins increase gaze coherence and dwell times on the center parts of the depictions while decreasing transitions
of pictorial elements from the center and the context areas. In contrast, patterns of results from zoom-outs and static presentations were similar to a large degree, indicating that
zoom-ins and zoom-outs do not operate in a complementary fashion. Theoretical and practical implications of the present results are discussed.
How to Communicate Complex Spatial Itineraries: A balancing act between diagram and simulation
(2022)
This paper shows our method of visually conveying the intricate pathway system of the unique amphitheatre in Durrës, Albania, in a way that allows visitors to experience the spatial implications for the ancient world. In the firm conviction as architects that architecture can best be understood when it is experienced, but that a destroyed building can no longer be witnessed, we have elaborated a method that does justice to this circumstance. In the communication of archaeological knowledge, the combination of find drawing, schematic illustration and descriptive text is often relied upon. Recently, perspective computer-generated drawings have entered the picture. What remains unresolved, is the perception of space as a process. Technology has not yet reached the point where a virtual world that deceives all the senses could simulate actual spatial perception. And so here, as in perspective composition, it is necessary to compensate for the actual perception of space by means of targeted image guidance by the film camera in such a way that a plausible impression of space is created. In addition to the composition criteria of point of view and angle of view, from which the focal length then arises, as well as the tilt-shift lenses for the compensation of the sense of balance, that is, that the recognition of the vertical is reproduced exactly in the image, and finally image framing, dynamic criteria are added. These are first and foremost the speed of movement, which has a considerable influence on the perception of the dimension, above all the length of the path travelled, but also the speed of rotation during changes of direction and, and here it becomes particularly demanding, the rotation as well as its speed before, during and after changes of direction, since the gaze does not run tangentially to the direction of movement, but anticipates changes of direction of the path, similar to directional headlamps in certain cars. In the end, the viewer receives a lasting impression that comes as close as possible to the archaeological hypothesis, but at the same time creates a spatial impression from an architectural point of view.
Europe is also architecture. When Jacques Derrida counts philosophy, democracy and the
Enlightenment, architecture is an essential gap. There is a number of artistic
expressions, but amongst them architecture, as the space that we live in, plays an
exposed role. Architecture is a criterion, a tradition that truly belongs to Europe. A
debate on the architectural artistic representation of Europe from the past to the future
will consolidate a place for Europe in the world. And this place does not, at least not in
the principal sense, yield to the imperialist tradition. On the contrary, Europe’s
architecture consists mainly of civilian or clerical buildings. Built architecture though is
subject to its deterioration, while the intellectual achievement of architectural projecting
and design are what will be left of Europe’s history. Architectural ideas are almost
timeless as they always negotiate ourselves in our environment. But ideas are rarely
acknowledged as deserved. In most cases, architecture that does not meet today’s
needs is considered as part of building archaeology. But there is much more in historic
architecture, a wealth of inspirations. Architecture has always been more than buildings.
This artistic surplus needs to be exposed, to be presented as a timeless intellectual
achievement that goes far beyond its original historical intention. For this we have
developed a method that visualizes architectonic ideas. The presentation aims to
demonstrate and illustrate this method by several projects developed by the authors in
cooperation with archaeological research institutions like Cologne Cathedral and its
Predecessors (by order of and exhibited in Cologne Cathedral), The Metropolis of
Pergamon (within the German Research Fund Excellence Cluster TOPOI, actually
exhibited in Leipzig as part of Sharing Heritage, the European Cultural Heritage Year
2018), The Palatine Palaces (by order of the German Archaeological Institute, both latter
exhibited in the Pergamon Museum Berlin).