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In this paper, we explore how extended reality (XR) and virtual reality (VR) can facilitate shared experiences that transcend individual boundaries. Using an example from the chemistry classroom, we illustrate how these technologies can enhance education and learning by fostering collaboration and shared understanding.Despite the vast potential of XR and VR, many of their applications remain isolated. Currently, sharing experiences often involves streaming onto a screen or verbal explanations, which can leave individuals feeling excluded if they are not directly involved. Even when multiple users wear VR or XR headsets, shared experiences are often limited to specific contexts like multiplayer VR games. Unfortunately, in domains such as education, work, or collaborative learning, these technologies are often underutilized.To bridge this gap, our study developed a prototype that leverages the eye-tracking and hand-tracking capabilities of the HoloLens2. This prototype enables collaborative interactions with 3D elements in an XR environment. By tracking participants' gaze within the XR scene, users can easily identify the element they are currently viewing. Through eye control and pinch gestures, users can manipulate digital content on the XR plane. When working within the same XR environment, users seamlessly share interactions and information, fostering a unified and collaborative experience with holograms.The current prototype is tailored to explore the intricate molecular details of sugar molecules within a collaborative XR environment. Teams of users can collectively delve into molecules such as fructose, glucose, galactose, and mannose, gaining deeper insights into their unique characteristics. Through interactions like eye-tracking and pinch gestures, users can directly interact with holographic 3D representations of these molecules. The prototype's user interface intuitively indicates which user is interacting with or observing each 3D object within the XR environment. Unlike conventional controllers, this prototype employs hand-tracking technology, enabling users to effortlessly navigate the XR interface using natural hand movements. This approach delivers an immersive and dynamic learning experience that surpasses traditional teaching methods, fostering heightened engagement and deeper understanding among learners. To assess the functionality and cognitive impact of the XR interface prototype, 19 participants were recruited for evaluation. Criteria for participant selection ensured they lacked prior knowledge or involvement in chemistry or related fields concerning sugar molecules. Following a brief introduction to the prototype's interaction patterns and eye calibration, participants engaged in testing across diverse learning scenarios. Initial survey findings suggest participants could swiftly distinguish between monosaccharides like glucose, fructose, galactose, and mannose based on their three-dimensional structures. However, results regarding gaze interaction evaluation are inconclusive and necessitate further experimentation.
Zeitlupe
(2024)
Unfolding Spaces
(2022)
Resilienz und Transformation
(2022)
Be a Hero
(2018)
A tendency has developed in recent times toward a close connection of the (photo) apparatus and the body. The GoPro, the “world’s most versatile camera,” as stated in the developer’s self-description, is often worn attached to the body, is held at a moderate distance from the body by means of a selfie stick, or is firmly mounted on helmets and sporting equipment. Regarding these cameras, a whole array of practices and technologies has evolved that strongly promote “self-shooting.” Thus, a new genre of the self-image has arisen: images of skaters, surfers, fliers, fallers, and the fallen, all capturing themselves in all circumstances up until death; it seems that the camera itself creates the risk to fall. This chapter focuses on the relationship of aesthetics, body, and apparatus that can be traced back to early examples of “falling photographers” and that is nowadays so impressively exemplified by the GoPro technique and its usage. Additionally, the text deals with the general leveling of the difference between the moving image (video) and the still image (photography) within the digital realm, specifically via the unification of both, technologies and practices, in one apparatus—like the GoPro.
Photography in the Digital
(2018)
Photography in the digitally created or digitized reality is an everyday activity that is rarely discussed in the context of photographic debates. This refers to practices such as in-game photography or, simpler yet, the screenshot. The paper focuses on their history, the specific status and materiality of these images of screens. Their (hi)story begins with screen image photography of measured data on cathode ray tubes and the photographic capture of x-ray screens. Screenshots and in-game photography can be seen throughout this context but they are cameraless and can therefore be understood and discussed within a long history of experimental photographic practices. Should we speak here at all of photography? If so, what is their photographic specificity? Which image of reality do they provide us?
Gerade erfolgreiche Autoren hatten es besonders schwer, in einer fremdsprachigen Umgebung ihre gewohnte Arbeit fortzusetzen. Ihr vielfach zur Kunst entwickeltes Handwerkszeug, der differenzierte Umgang mit der Muttersprache und deren kulturelle Traditionen galten nichts mehr. So mussten sich bislang gefeierte Autoren erst in einer neuen Sprache zurechtfinden und an ungewohnte Methoden der Studios anpassen. Dennoch gelang es manchen, sich in der fremden Sprache zu etablieren. Zum Thema des Bands erschien im November 2016 bereits das Cinefest-Katalogbuch "Gebrochene Sprache. Filmautoren und Schriftsteller des Exils", das auch eine DVD enthält. Durch den vorliegenden Band wird das Thema erneut aufgegriffen und um einige entscheidende Facetten erweitert.
Gegenwart historisch gesehen
(2018)
Die politisch und kulturell bewegte Zeit zwischen der Französischen Revolution und der Wiederherstellung der "guten alten Ordnung" 1848 bewegte zeitgenössische Literaten wie Büchner, Heine und Goethe. Ihre Werke wurden oft von Filmschaffenden aufgegriffen.
Die Beiträge des Bandes von Filmhistorikern und -wissenschaftlern beleuchten den filmischen Umgang mit Werken von u. a. Eichendorff, Kleist und E. T. A. Hoffmann und stellen sie in einen zeitgenössischen soziokulturellen Kontext. Die europäische Dimension der Faszination mit dieser Epoche und ihren Literaten zeigen Beiträge zum polnischen und tschechischen Film. Ähnlich wie die Vorlagen reflektieren die entstandenen Werke die Zerrissenheit zwischen Kultur und Politik und spiegeln in doppelter Brechung die künstlerischen und literarischen Werke und Biografien einer politisch bewegten Zeit wider.
Zum Thema des Sammelbands erschien im November 2017 bereits das cinefest-Katalogbuch "Zwischen Revolution und Restauration. Kultur und Politik 1789-1848 im Spiegel des Films", das auch eine DVD mit den Filmen "Durch die Wälder, durch die Auen" (1956, G. W. Pabst) und "Heinrich Heine" (1969/70, Herbert Seggelke) enthält.
Filmpionier und Mogul
(2019)
Joe May (1880–1954) war eine Zentralfigur des Weimarer Kinos. 1911 kam er als Regisseur zum Film, war aber schon bald auch als Produzent tätig. Er baute eine eigene Produktionsfirma auf und feierte mit seriellen Formaten wie der Joe-Deebs-Detektivserie und der melodramatischen Mia-May-Serie schnell Erfolge.
Nach dem Ersten Weltkrieg wuchs seine Firma zu einem kleinen Imperium heran und umfasste eigene Ateliers und Außengelände in Berlin-Weißensee und Woltersdorf. Es entstanden Großproduktionen wie die 8-teilige Abenteuerserie "Die Herrin der Welt" (1919) und der 2-Teiler "Das indische Grabmal" (1921). Mays Filme – vor allem "Heimkehr" (1928) und "Asphalt" (1928/29) – gehören zu den Höhepunkten des Weimarer Kinos. Star der May-Filme war zumeist seine Frau Mia May, auch Tochter Eva (1902–1924) machte in ihrem kurzen Leben als Schauspielerin Karriere. Zum "Team" May gehörten außerdem eine Reihe von Mitarbeitern, darunter auch Fritz Lang und Thea von Harbou, denen die May-Filme zu ersten Erfolgen verhalfen und den Weg für die weitere Karriere ebneten. Einen maßgeblichen Beitrag zu den May-Filmen leisteten u. a. die Film-Architekten Erich Kettelhut, Martin Jacoby-Boy und Paul Leni. Aber auch das Wirken anderer Beteiligter, die bisher eher unsichtbar blieben, gilt es zu entdecken.
In den Texten dieses Buchs beleuchten Filmhistoriker und -wissenschaftler das Schaffen Joe Mays im Weimarer Kino und im Exil sowie das seiner Mitarbeiter und Weggefährten. Zum Thema des Sammelbands erschien im November 2018 bereits das cinefest-Katalogbuch "Meister des Weimarer Kinos. Joe May und das wandernde Bild".
Carrying Computerization
(2018)
Durch und über Computer
(2019)
Im Kino wurde schon immer gelacht. Wann aber der Spaß aufhört und der Ernst beginnt, das haben Filmemacher und Publikum stets aufs Neue ausgelotet.
Das neue CineGraph Buch zeigt, dass sich Kurt Tucholskys Frage "Was darf Satire?" in der Filmgeschichte nicht pauschal mit "Alles" beantworten lässt, sondern die Antwort immer abhängig vom historischen Kontext, insbesondere den jeweiligen Machtstrukturen ist. Anstoß für die satirischen Filmproduktionen gaben gesellschaftliche sowie politische Ereignisse wie der Zweite Weltkrieg, die Auseinandersetzung mit dem Nationalsozialismus, der Kalte Krieg, das Wirtschaftswunder, die Entwicklung der Medien oder die kapitalistische Gesellschaft. Das kritisch-unterhaltsame Genre weist ein facettenreiches Spektrum an Filmen auf, von denen einige in den Beiträgen dieses Buches näher betrachtet werden, darunter "Der Maulkorb" (DE 1937/38), "Der Untertan" (DDR 1951), "Animal Farm" (GB 1951–54), die Satire-Serie "Das Stacheltier" (DDR 1953–65), "Wir Wunderkinder" (BRD 1958), "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb" (GB/US 1964) sowie "Er ist wieder da" (DE 2014/15).
Zum Thema des Sammelbandes erschien im November 2019 bereits das cinefest-Katalogbuch "Dr. Seltsam oder: Aus den Wolken kommt das Glück. Film zwischen Polit-Komödie und Gesellschafts-Satire".
Einleitung : Interface
(2021)
Zwischen den Niederlanden und Deutschland bestanden schon immer enge Verbindungen in der Wirtschaft, im Privatleben und natürlich auch in der Kultur. Dabei gibt es weitaus mehr zu entdecken als die üblichen Klischees. Die Nachbarländer verbindet eine lange und bewegte gemeinsame Filmgeschichte.
Die Aufsätze im neuen CineGraph Buch geben einen Eindruck von der Vielfalt dieser internationalen Filmkultur. Einen Schwerpunkt dabei bilden der Nationalsozialismus und seine Auswirkungen auf die Filmschaff enden beider Länder. Die traumatische Zeit der Besatzung und des Zweiten Weltkriegs hat nicht nur allgemein im deutsch-niederländischen Verhältnis deutliche Spuren hinterlassen, sondern spiegelt sich explizit in der Filmproduktion wider und findet auch im niederländischen Nachkriegs-Spielfilm Ausdruck. Dass die deutsch-niederländischen Beziehungen die Filmgeschichte beider Länder nachhaltig geprägt haben, zeigt sich zum einen im Einfluss, den deutsche Filmschaff ende – zumeist Emigrierte – in den 1930er Jahren beim Aufbau einer niederländischen Tonfilmproduktion hatten; zum anderen waren in den 1960er Jahren niederländische Protagonisten maßgeblich an der Entwicklung des Neuen Deutschen Films beteiligt.
Zum Thema des Sammelbandes erschien im November 2020 bereits das cinefest-Katalogbuch "Kino, Krieg und Tulpen. Deutsch-Niederländische Filmbeziehungen".
Fluchtlinien
(2023)
In den letzten Jahrzehnten ist – nicht zuletzt durch CineGraph – das Schicksal von jüdischen Filmschaffenden aus Ost-Europa, die durch den völkischen Rassismus des NS-Regimes ins Exil vertrieben wurden, häufig in den Blick genommen worden.
Darüber hinaus gibt es aber auch zahllose ost- und mitteleuropäische Filmschaffende aller Gewerke, die im 20. Jahrhundert ihre Heimatländer verließen; ihre Karrieren sind noch weniger erforscht. Die Texte in diesem Band präsentieren einen Querschnitt dieser zum Teil vergessenen Filmschaffenden. Neben den Regiekarrieren von Alfréd Deésy, Slatan Dudow und Ladislao Vajda werden die Lebenswege der Schauspielerinnen Marija Leiko, Lya Mara und Anna Sten betrachtet. Aber auch die Arbeit von Produzenten wie Miloš Havel und der Familie Salkind wird untersucht. Zudem wird Leo Lanias Bedeutung für die Anfänge des dokumentarischen Films behandelt. Ein Beitrag widmet sich dem Einfluss der sowjetischen Berater auf den frühen DEFA-Film. Der Sammelband wird mit einem Essay des ungarischen Schriftstellers und Historikers György Dalos zum politischen und kulturellen Exil in der Zwischenkriegszeit eingeleitet.
Zum Thema des Sammelbandes erschien im November 2021 bereits das cinefest-Katalogbuch "Westwärts. Osteuropäische Filmschaffende in Westeuropa".
From shock to shift
(2023)
We present a multi-dimensional, multi-level, and multi-channel approach to data visualization for the purpose of constructive climate journalism. Data visualization has assumed a central role in environmental journalism and is often used in data stories to convey the dramatic consequences of climate change and other ecological crises. However, the emphasis on the catastrophic impacts of climate change tends to induce feelings of fear, anxiety, and apathy in readers. Climate mitigation, adaptation, and protection—all highly urgent in the face of the climate crisis—are at risk of being overlooked. These topics are more difficult to communicate as they are hard to convey on varying levels of locality, involve multiple interconnected sectors, and need to be mediated across various channels from the printed newspaper to social media platforms. So far, there has been little research on data visualization to enhance affective engagement with data about climate protection as part of solution-oriented reporting of climate change. With this research we characterize the unique challenges of constructive climate journalism for data visualization and share findings from a research and design study in collaboration with a national newspaper in Germany. Using the affordances and aesthetics of travel postcards, we present Klimakarten, a data journalism project on the progress of climate protection at multiple spatial scales (from national to local), across five key sectors (agriculture, buildings, energy, mobility, and waste), and for print and online use. The findings from quantitative and qualitative analysis of reader feedback confirm our overall approach and suggest implications for future work.
Tracing and Telling
(2023)
Cultural collections have transcended the boundaries of physical showcases and storage cabinets, evolving into intricate digital webs of interconnected data. The research project Restaging Fashion aimed to expand the possibilities for experiencing the linkages in digitized cultural heritage, focusing on the visualization of collection holdings related to the history of garments. Through graph-based narratives, the project investigated the complex interplay between the linear – and at times tentative – art historical discourses and the non-linear explorations of associated cultural heritage data. The resulting visualizations have been designed with the aim to allow for curated and dynamic exploration of the collection along research essays and their interrelated graphs.
Narrelations
(2019)
We present findings from interdisciplinary research at the intersection between literary studies, information visualization, and interface design. Despite a growing interest in text visualization among literary scholars, so far, narrative visualizations are not designed to support the particular tasks involved in narratological analysis and often fail to reveal nuanced narratological features. One major outcome of our iterative research and design process is Narrelations, a novel visualization technique specifically suited for analyzing and interpreting narrative levels of a story and temporal aspects of its narrative representation. The visualization provides an overview of the nesting and distribution of narrative levels, integrates the representation of temporal phenomena, and facilitates the examination of correlations between these aspects. With this research we explore how collaboratively designed visual encodings and interaction techniques may allow for an insightful analysis at a high level coupled with a close inspection of text passages. We discuss prior work relevant to our research objectives and explain the specific characteristics of narrative levels and temporal aspects of narrative representation. After describing the research process and design principles, we apply the visualization on a test corpus of eight annotated German short stories and demonstrate its heuristic value for literary analyses and interpretations. In particular, we explore the intricate connections between the literary content of the novellas and their narrative form.
The Fold
(2020)
We propose the philosophical notion of the fold as an evocative vocabulary for the design and critique of interactive data visualizations. An expanding range of application areas, such as digital art history and literary studies, illustrates the potential of data visualization for research and education in the humanities. Coinciding with the increasing currency of data as evidence in the humanities, this research addresses a growing interest in data visualization for visual analysis and argumentation. For example, cultural collection visualizations promise a range of possibilities for visual and interactive representations of digital cultural heritage, used both for free exploration and focused research. Based on the concept of the fold, prominently advanced by Gilles Deleuze, this paper outlines a critical framework that draws attention towards the complexity of the underlying data. The fold offers a way to analyze and conceptualize visualizations through the lens of three integrated operations: explication, implication, and complication. It is an opportunity to think of interactive visualizations as portals into coherent, elastic, and ultimately infinite information spaces. Accordingly, it rejects the separation between interactivity and visual encoding and draws attention to the transitions between multiple states of a visualization. We identify design patterns of the fold in data visualizations, devise a framework for the critical interpretation of interactivity in data visualization, and demonstrate the implications for the digital humanities.
Graph Technologies for the Analysis of Historical Social Networks Using Heterogeneous Data Sources
(2020)
Over the last decades, cultural heritage institutions have provided extensive machine-readable data, such as bibliographic and archival metadata, full-text collections, and authority records containing multitudes of implicit and explicit statements about the social relations between various types of entities. In this paper, we discuss how approaches to the creation and operation of advanced research infrastructure for historical network analysis (HNA) based on heterogeneous data sources from cultural heritage institutions can be examined and evaluated. Based on our interdisciplinary research, we describe challenges and strategies with a special focus on the issue of data processing, sketch out the advantages of human-centered project design in the form of a preliminary co-design workshop, and present an iterative approach to data visualization.
SoNAR (IDH)
(2020)
A Contemporary Nolli Map
(2023)
More than 250 years ago, Giovanni Battista Nolli, an Italian architect, engineer and cartographer, was concerned with how and where space is or is not publicly accessible. In his map 'La nuova topografia di Roma Comasco', he mapped publicly accessible interior and exterior spaces of Rome with an impressively high level of detail as a figure-ground map. Since Nolli’s time, both the character and diversity of public spaces as well as cartographic technology have changed. This research project aims to adapt some ideas behind Nolli’s map for today’s circumstances on the basis of open data, and seeks to develop methods for processing volunteered geographical information from OpenStreetMap (OSM) to identify, categorize, and map public spaces based on thematic and geometric information.
Developing the next generation of cartographers is essential to sustaining and expanding the mission of the International Cartographic Association. Students and early-career professionals today learn cartographic design alongside a diverse array of conceptual and technical competencies, such as data science, human-computer interaction, information visualization, and machine learning. Accordingly, the next generation of cartographers often are working at the forefront of the discipline, actively reshaping what cartography is and can be.
Unfolding Edges
(2023)
Existing work on visualizing multivariate graphs is primarily concerned with representing the attributes of nodes. Even though edges are the constitutive elements of networks, there have been only few attempts to visualize attributes of edges. In this work, we focus on the critical importance of edge attributes for interpreting network visualizations and building trust in the underlying data. We propose 'unfolding of edges' as an interactive approach to integrate multivariate edge attributes dynamically into existing node-link diagrams. Unfolding edges is an in-situ approach that gradually transforms basic links into detailed representations of the associated edge attributes. This approach extends focus+context, semantic zoom, and animated transitions for network visualizations to accommodate edge details on-demand without cluttering the overall graph layout. We explore the design space for the unfolding of edges, which covers aspects of making space for the unfolding, of actually representing the edge context, and of navigating between edges. To demonstrate the utility of our approach, we present two case studies in the context of historical network analysis and computational social science. For these, web-based prototypes were implemented based on which we conducted interviews with domain experts. The experts' feedback suggests that the proposed unfolding of edges is a useful tool for exploring rich edge information of multivariate graphs.
From Sketching to Coding
(2023)
This workshop will explore strategies for teaching visualization literacy - from sketching to creating visualizations using computational tools. Led by instructors from the humanities, visual analytics, design, and computer science, sessions will discuss different methodologies and challenges of teaching visualization to audiences with varied technical and disciplinary expertise and goals.
Der Workshop hinterfragt partizipativ die Visualisierungskultur und Wahrnehmungs- bzw. Nutzungspraktiken digitaler Kulturerbe-Daten am Beispiel musealer Sammlungen im Web. Im Zentrum steht dabei der Einsatz von Eyetracking-Verfahren sowie Methoden der heuristischen Usability-Evaluation. Ausgehend von den Webseiten "explorativ" gestalteter Online Sammlungen werden die graphischen Benutzeroberflächen als visuelle Schnittstelle zwischen interner Objektdatenbank und Rezipientenschaft kritisch beleuchtet. In engem Austausch mit den Teilnehmer*innen sollen die User Experience praktisch erforscht werden. Dazu gehören einerseits Fragen nach den Wahrnehmungsstrukturen und der intuitiven Nutzung der Seiten, ihrer Zeichen und Navigation. Andererseits wird explizit ein Augenmerk auf die angebotene Auswahl der Informationen von v.a. Einzelobjektseiten und das Vernetzungspotential verlinkter Daten als Möglichkeit der Kunstvermittlung gelegt.
Was sehe ich? Visualisierungsstrategien für Datentransparenz in der Historischen Netzwerkanalyse
(2022)
Die Historische Netzwerkanalyse (HNA) hat sich zu einem etablierten Forschungsfeld entwickelt. Zu ihren wichtigsten methodischen Herausforderungen gehört die Suggestionskraft von Visualisierungen. Die Transparenz bezüglich der Datenquellen ist daher für die HNA sowohl bei selbst erhobenen als auch bei sekundär genutzten Daten Voraussetzung, will sie geisteswissenschaftlichen Kriterien der Nachprüfbarkeit und Nachvollziehbarkeit von Interpretationen erfüllen. Dieser Beitrag beschreibt und diskutiert – aufbauend auf einem iterativen und durch Workshops sowie einer Nutzer*innenstudie begleiteten Forschungsprozess – vier Designziele zur Verwirklichung einer solchen Transparenz: 1) Aufnahme und Kommunikation von Datenprovenienzen, 2) Dokumentation vorausgegangener Prozesse, 3) Offenhaltung der Interpretierbarkeit der Daten und 4) Unterstützung von Folgeforschung. Anschließend werden beispielhafte Umsetzungsstrategien in Form von Prototypen präsentiert.
Von der Wolke zum Pfad
(2022)
Die in den letzten Jahren entstandenen explorativen Visualisierungen musealer Sammlungen widmen sich zumeist einzelnen Sammlungen, welche oft einer spezifischen Systematik folgen und eine geringe Vielfalt an Objektgattungen und Attributen aufweisen. Das hier vorgestellte Forschungsprojekt stellte sich die Frage, wie verschiedene, in sich heterogene, Sammlungen miteinander verknüpft, visualisiert und exploriert werden können, ohne die Unterschiede zwischen ihnen zu nivellieren. Dazu wurden im Rahmen einer Forschungskooperation mit den Staatlichen Museen zu Berlin die Bestände aus dem 19. Jahrhundert der Alten Nationalgalerie sowie des Museums Europäischer Kulturen ausgewählt. Das Ziel war es, übergreifende Zusammenhänge und Resonanzen zwischen den Sammlungen aufzugreifen und dynamische, interaktive Arrangements zu entwickeln, welche die assoziative Exploration von Beständen anregen. Das Ergebnis ist ein interaktiver Prototyp, der eine globale Übersicht in Form einer annotierten Wolke mit der lokalen Perspektive eines auf Ähnlichkeiten basierten Pfads verknüpft.
Over the last few years, data visualization, especially the visualization of spatial data, has become of ever-increasing importance in modern online journalism. While there is a broad range of research projects that focus on developing new methods, techniques, and implementations, empirical analysis of the potential implications of this trend is still rare. In this paper, the potential influence of visualizations in online journalism is in the focus: perceived credibility. The need for such empirical research is emphasized by presenting a preliminary quantitative study that assesses the impact of maps and information visualization on the perceived credibility of online news articles.
Die Falte
(2020)
This contribution explores the instructive tensions between art-historical research and semantic data modeling. While the potential of LOD-applications is obvious in terms of standardization and precision some aspects of research may not be formally represented. Therefore we propose to bridge LOD and full text descriptions through information visualization.
Im Südosten von Berlin entsteht durch die Neuansiedlung der Tesla-Autofabrik in Grünheide und der Eröffnung des neuen Berliner Flughafens ein starkes wirtschaftliches Wachstum. Neben geschätzen 12.000 neuen Arbeitsplätzen in der Autofabrik selbst (Ausbaustufe I) werden zukünftig bis zu 40.000 neue Arbeitsplätze (Ausbaustufe II und induzierte Bedarfe) prognostiziert - mit entsprechend hohem Wohnraum- und Mobilitätsbedarf. Für die inter- und transdisziplinäre Projektarbeit des 5. Jahrgangs im Masterstudiengang Urbane Zukunft an der Fachhochschule Potsdam waren die Leitfragen, wie unter diesen Rahmenbedingungen eine sozialökologische Modernisierung und der Übergang in eine klimaneutrale Gesellschaft gestaltet werden kann und welche raumplanerischen, technologischen und sozialen Entwicklungen hierfür erforderlich sind. Als Bezugsrahmen unserer Untersuchungen diente das Leitbild der 2.000-Watt-Gesellschaft, das als Zielgröße für eine nachhaltige Gesellschaft eine durchschnittliche Energieleistung von max. 2.000 Watt pro Einwohner definiert. Das Erreichen dieses Ziels erfordert neben technologischen Innovationen und einem gewaltigen Umbau der urbanen (Infrastruktur-) Systeme vor allem nachhaltige Lebensstile und berührt so auch sämtliche Fragen des Wohnens und Arbeitens, der Energieversorgung sowie des Mobilitäts- und Konsumverhalten.
This poster summary offers a brief overview of the methodical approach behind the process of curriculum development for the design degree programmes at the University of Applied Sciences Potsdam (Fachhochschule Potsdam [FHP]), in adherence to the underlying principle of an iterative ideation process as part of the interdisciplinary project entitled “Design NOT plain vanilla”. It presents an approach enriched by the example of “student” stakeholder group integration. First, the shared attributes linked to digitalisation that characterise the transformation of job descriptions found in the epistemic cultures of design and information sciences, and the differences in existing curricula concepts were outlined. Based on this, an explanation is provided as to why – as per the authors’ interpretation – the methodical approach that shapes the development of curricula as well as the underlying paradigms of the curriculum concept within the design degree programmes could provide prudent impetus for the process of curriculum development, as well as for the structure of curricula in information Science
degree programmes.
To Classify is to Interpret
(2023)
Taxonomy building is a task that requires interpreting and classifying data within a given frame of reference, which comes to play in many areas of application that deal with knowledge and information organization. In this paper, we explore how taxonomy building can be supported with systems that integrate machine learning (ML). However, relying only on black-boxed ML-based systems to automate taxonomy building would sideline the users’ expertise. We propose an approach that allows the user to iteratively take into account multiple model’s outputs as part of their sensemaking process. We implemented our approach in two real-world use cases. The work is positioned in the context of HCI research that investigates the design of ML-based systems with an emphasis on enabling human-AI collaboration.
Data Stories of Water
(2023)
We present a methodology for making sense of the communicative role of data visualizations in journalistic storytelling and share findings from surveying water-related data stories. Data stories are a genre of long-form journalism that integrate text, data visualization, and other visual expressions (e.g., photographs, illustrations, videos) for the purpose of data-driven storytelling. In the last decade, a considerable number of data stories about a wide range of topics have been published worldwide. Authors use a variety of techniques to make complex phenomena comprehensible and use visualizations as communicative devices that shape the understanding of a given topic. Despite the popularity of data stories, we, as scholars, still lack a methodological framework for assessing the communicative role of visualizations in data stories. To this extent, we draw from data journalism, visual culture, and multimodality studies to propose an interpretative framework in six stages. The process begins with the analysis of content blocks and framing elements and ends with the identification of dimensions, patterns, and relationships between textual and visual elements. The framework is put to the test by analyzing 17 data stories about water-related issues. Our observations from the survey illustrate how data visualizations can shape the framing of complex topics.
Kleidung, Tracht und Mode kommunizieren die Vorstellung des Trägers von Schönheit, Status, Körper, Form, sozialer Hierarchie und religiöser Zugehörigkeit, kurz: die Identität des Trägers. Die Informationen in den historischen Quellen zur Kleidung, in bildlichen Darstellungen, beschreibenden Texten und textilen Artefakten, werden in dem interdisziplinären Forschungs- und Digitalisierungsprojekt "Restaging Fashion. Digitale Kontextualisierung vestimentärer Quellen" (UCLAB, Fachhochschule Potsdam) interpretiert und kontextualisiert. Eine tiefe inhaltliche Erschließung, sowie im Projekt angefertigte Digitalisate bilden dafür die Datenbasis. Ein besonderer Schwerpunkt wird zum einen auf der prototypischen 3D-Digitalisierung historischer Kleidung liegen. Zum Anderen wird die Datenvisualisierung als epistemisches Werkzeug sowohl im Prozess der Erfassung genutzt als auch für die Sammlungspräsentation im Web eingesetzt. Ein Beitrag zur 8. Tagung des Verbands "Digital Humanities im deutschsprachigen Raum" - DHd 2022 Kulturen des digitalen Gedächtnisses.
This paper presents Emosaic, a tool for visualizing the emotional tone of text documents, considering multiple dimensions of emotion and varying levels of semantic granularity. Emosaic is grounded in psychological research on the relationship between language, affect, and color perception. We capitalize on an established three-dimensional model of human emotion: valence (good, nice vs. bad, awful), arousal (calm, passive vs. exciting, active) and dominance (weak, controlled vs. strong, in control). Previously, multi-dimensional models of emotion have been used rarely in visualizations of textual data, due to the perceptual challenges involved. Furthermore, until recently most text visualizations remained at a high level, precluding closer engagement with the deep semantic content of the text. Informed by empirical studies, we introduce a color mapping that translates any point in three-dimensional affective space into a unique color. Emosaic uses affective dictionaries of words annotated with the three emotional parameters of the valence-arousal-dominance model to extract emotional meanings from texts and then assigns to them corresponding color parameters of the hue-saturation-brightness color space. This approach of mapping emotion to color is aimed at helping readers to more easily grasp the emotional tone of the text. Several features of Emosaic allow readers to interactively explore the affective content of the text in more detail; e.g., in aggregated form as histograms, in sequential form following the order of text, and in detail embedded into the text display itself. Interaction techniques have been included to allow for filtering and navigating of text and visualizations.
Social anxiety disorder (SAD) is one of the most commonly diagnosed anxiety disorders and a health concern that has a significant impact on the affected individuals’ quality of life. Although there is a need to develop methods and tools to support those affected by SAD, it is especially challenging to conduct participatory design with this psychologically vulnerable group of people. This paper presents the design, implementation and evaluation of a participatory format built on a toolkit, a cultural probe and an online prototyping workshop to gain insights into the challenges and needs experienced in the everyday lives of those affected by severe social anxiety. We provide the theoretical framework for designing a participatory format for this vulnerable group, introduce and discuss our methodological approach, and present the lessons learned from implementing and evaluating the format in two workshop sessions with a total of 15 participants.
Journalism has become more data-driven and inherently visual in recent years. Photographs, illustrations, infographics, data visualizations, and general images help convey complex topics to a wide audience. The way that visual artifacts influence how readers form an opinion beyond the text is an important issue to research, but there are few works about this topic. In this context, we research the persuasive, emotional and memorable dimensions of data visualizations and illustrations in journalistic storytelling for long-form articles. We conducted a user study and compared the effects which data visualizations and illustrations have on changing attitude towards a presented topic. While visual representations are usually studied along one dimension, in this experimental study, we explore the effects on readers' attitudes along three: persuasion, emotion, and information retention. By comparing different versions of the same article, we observe how attitudes differ based on the visual stimuli present, and how they are perceived when combined. Results indicate that the narrative using only data visualization elicits a stronger emotional impact than illustration-only visual support, as well as a significant change in the initial attitude about the topic. Our findings contribute to a growing body of literature on how visual artifacts may be used to inform and influence public opinion and debate. We present ideas for future work to generalize the results beyond the domain studied, the water crisis.
Transdisciplinary research processes often involve the integration of knowledge and stakeholders from various backgrounds. Here, we introduce the story of the research project AMA (A Mindset for the Anthropocene) on the role of mindsets in the context of sustainability and present an interactive visualization tool that we developed for stakeholder mapping and research communication. Through this platform, we provide access and navigation to everyone interested in this field of research and we have simultaneously created a channel for all stakeholders to co-create content. Here, we describe the design and functionalities of the platform and the participatory way it was developed as part of our stakeholder engagement. We discuss upon how such a design allows for reflection of potential biases in transdisciplinary research processes and simultaneously catalyzing self-organization in stakeholder networks.
As part of the research project Open Data Cloud Services (ODCS), we have been trying to overcome some of the limitations introduced through the heterogeneity of spatial open government data (sOGD). In this paper we describe some of the challenges of sODG and one of the tools we built to spatially organize heterogenous sOGD, to make it easier for users to find data and automatically integrate it into existing data structures and in the future allow for cross-dataset spatial analysis.
Das Design von Kommunikationsmitteln und Kommunikationsprozessen ist im Verlauf der letzten 100 Jahre zu einem vielgestaltigen farbenfrohen Gewebe gewachsen, welches die gesammte Gesellschaft durchwirkt und allgegenwärtig beiläufig durchschimmert oder auch kraftvoll aufleuchtet. Der Bedarf an gestalterischer Differenzierung ist in dieser Zeit in mehrfachter Hinsicht geradezu explodiert.
Anlässlich des hundertsten Gründungsjubiläums des BDG Berufsverband der Deutschen Kommunikationsdesigner e.V. werden verschiedene Facetten dieser Entwicklung von verschiedenen Autor/innen betrachtet.
What is inspiration? Can there be a method for finding inspiration? “Inspired by Method: Creative Tools for the Design Process” is both a guide to and a source of inspiration. Designing involves individuality and a systematic approach, which we may apply consciously or subconsciously, depending on the project. The 5D-method for inspiration, created by Alexandra Martini, is an incisive little tool that you can use in any design process. It takes away the fear of starting a new project. This method uses the following five dimensions: Formal-Aesthetic Dimension, Haptic Dimension, Production Dimension, Cultural Dimension and Interactive Dimension. It will help you analyse, experiment with and realise your ideas. The first phase of the book will get you started.
The second phase encourages you to experiment and explore some unusual paths. Classical principles, such as composition and proportion, are interwoven with contemporary manufacturing processes such as 3D printing and aspects of human-machine interaction.
For all budding creatives who are involved with design, in any way, that want to deepen their knowledge and intellectual portfolio professionally and develop their design skills further. “Inspired by Method: Creative Tools for the Design Process” provides orientation, guidance, methodology and a soft process algorithm.
Nachtalb
(2022)
Nachtalb is an immersive interface that enables brain-to-brain interaction using multisensory feedback. With the help of the g.tec Unicorn Hybrid Black brain-computer-interface (BCI), brain-activity-data is measured and translated visually with the Oculus Quest 2, tactilely with the bHaptics TactSuit and auditorily with 3D Sound. This intends to create a feedback loop that turns brain activity from data-input into sensory output which directly influences the brain activity data-input again.
In Case You Don’t Know What To Play is a framework for designing a Virtual Reality application that uses spatial distortion to influence the user’s visual perception and ultimately shall manipulate their sense of time. Spatial orientation allows us to judge distances regarding their temporal component. In particular, in self-motion we can estimate the duration it takes to cover a given distance, since time and spatial perception are connected. This connection can be broken with the help of Virtual Reality technology and a perceptual conflict can be created.
Surprise Machines is a project of experimental museology that sets out to visualize the entire image collection of the Harvard Art Museums, with a view to opening up unexpected vistas on more than 200,000 objects usually inaccessible to visitors. The project is part of the exhibition organized by metaLAB (at) Harvard entitled Curatorial A(i)gents and explores the limits of artificial intelligence to display a large set of images and create surprise among visitors. To achieve this feeling of surprise, a choreographic interface was designed to connect the audience’s movement with several unique views of the collection.