989 resultados para visual interfaces


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Utilizing user-centred system design and evaluation method has become an increasingly important tool to foster better usability in the field of virtual environments (VEs). In recent years, although it is still the norm that designers and developers are concerning the technological advancement and striving for designing impressive multimodal multisensory interfaces, more and more awareness are aroused among the development team that in order to produce usable and useful interfaces, it is essential to have users in mind during design and validate a new design from users' perspective. In this paper, we describe a user study carried out to validate a newly developed haptically enabled virtual training system. By taking consideration of the complexity of individual differences on human performance, adoption and acceptance of haptic and audio-visual I/O devices, we address how well users learn, perform, adapt to and perceive object assembly training. We also explore user experience and interaction with the system, and discuss how multisensory feedback affects user performance, perception and acceptance. At last, we discuss how to better design VEs that enhance users perception, their interaction and motor activity.

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Selected ubiquitous technologies encourage collaborative participation between higher education students and educators within a virtual socially networked e-learning landscape. Multiple modes of teaching and learning, ranging from real world experiences, to text and digital images accessed within the Deakin Studies Online learning management system and a constructed virtual world in which the user’s creative imagination transports them to the “other side” of their computer screens is discussed in this paper. These constructed environments support interaction between communities of learners and enable multiple simultaneous participants to access graphically built 3D environments, interact with digital artifacts and various functional tools and represent themselves through avatars, to communicate with other participants and engage in collaborative art learning. A narrative interpretative research approach was used to profile the 21st century higher education student learner, to investigate the lived experience and multiple art learning perspectives documented in student visual journal entries and art educator observations to ascertain if an e-technology rich augmented learning environment resulted in the establishment of more effective e-learning communities of practice.

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Selected ubiquitous technologies encourage collaborative participation between higher education students and educators within a virtual socially networked e-learning landscape. Multiple modes of teaching and learning, ranging from real world experiences, to text and digital images accessed within the Deakin Studies Online learning management system and a constructed virtual world in which the user's creative imagination transports them to the “other side” of their computer screens is discussed in this paper. These constructed environments support interaction between communities of learners and enable multiple simultaneous participants to access graphically built 3D environments, interact with digital artifacts and various functional tools and represent themselves through avatars, to communicate with other participants and engage in collaborative art learning. A narrative interpretative research approach was used to profile the 21st century higher education student learner, to investigate the lived experience and multiple art learning perspectives documented in student visual journal entries and art educator observations to ascertain if an e-technology rich augmented learning environment resulted in the establishment of more effective e-learning communities of practice.

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A narrative interpretative research methodology was used to investigate collaboration between higher education students and an art educator with the aim of establishing a community of learners. Located, Cloud based and graphically built 3D virtual, socially networked, e-learning environments were used to encourage synchronous and asynchronous student participation in authentic learning and collaborative art practice. Discussion focuses on art educator observations, student visual journal entries, their virtual exhibition of artworks on Deakin Art Education Island in Second Life and student evaluations of the unit Navigating the Visual World. It was concluded that immersion in an e-technology rich blended learning environment resulted in the establishment of an effective e-learning community of art.

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Objective: We want to support enterprise service modelling and generation using a more end user-friendly metaphor than current approaches, which fail to scale to large organisations with key issues of "cobweb" and "labyrinth" problems and large numbers of hidden dependencies. Method: We present and evaluate an integrated visual approach for business process modelling using a novel tree-based overlay structure that effectively mitigate complexity problems. A tree-overlay based visual notation (EML) and its integrated support environment (MaramaEML) supplement and integrate with existing solutions. Complex business architectures are represented as service trees and business processes are modelled as process overlay sequences on the service trees. Results: MaramaEML integrates EML and BPMN to provide complementary, high-level business service modelling and supports automatic BPEL code generation from the graphical representations to realise web services implementing the specified processes. It facilitates generated service validation using an integrated LTSA checker and provides a distortion-based fisheye and zooming function to enhance complex diagram navigation. Evaluations of EML show its effectiveness. Conclusions: We have successfully developed and evaluated a novel tree-based metaphor for business process modelling and enterprise service generation. Practice implications: a more user-friendly modelling approach and support tool for business end users.

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Este trabalho apresenta o projeto de uma interface visual para modelos de bancos de dados orientados a objetos, com suporte para versões. Um requisito importante, não atendido pelas interfaces visuais específicas e genéricas para sistemas orientados a objetos, é a capacidade de definir e manipular versões de um objeto nos vários níveis da hierarquia de classes (herança por extensão, adotada pelo modelo de versões [GOL 95]). As interfaces, que manipulam versões, suportam essa característica no nível mais especializado da hierarquia (herança por refinamento, adotada pelos principais SGBDOOs). Procurando prover a possibilidade do versionamento de objetos nos vários níveis da hierarquia de classes, surgiu a motivação para projetar e desenvolver uma interface visual com funcionalidades de interfaces existentes (específicas e genéricas) e que obedeça às características principais dos Modelos de Dados Orientados a Objetos e do Modelo de Versões [GOL 95], seguindo as características recomendadas para interfaces visuais para MDOOs, propostas em [SIL 96]. Foi implementado um protótipo com algumas das características projetadas para o browser de objeto e seu suporte para versões.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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Currently, too much visual information present in all media is form vehemently, for example, in print media and interfaces used for publicity in conjunction with informational design. This visual information has great influence in the lives of human beings, since the vision of these individuals is the sense most used. Studies on visual identity have not explored this issue in a satisfactory manner, favoring thus the subject of this little development projects in the area. Note the need for analyzes to enable implementation principles of projective, making them accessible to the understanding of most individuals. This study aimed to propose an evaluation of visual identities, which were analyzed by means of visual concepts of usability, design methodologies and Gestalt. We contacted design firms specializing in visual identity projects, places where interviews were conducted to collect the marks allowed for analysis. The results point to a frequent demand the employment of visual usability principles, design methodologies and design in Gestalt visual identities.

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Programa de doctorado: Sistemas Inteligente y Aplicaciones Numéricas en Ingeniería

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[EN]Perceptual User Interfaces (PUIs) aim at facilitating human-computer interaction with the aid of human-like capacities (computer vision, speech recognition, etc.). In PUIs, the human face is a central element, since it conveys not only identity but also other important information, particularly with respect to the user’s mood or emotional state. This paper describes both a face detector and a smile detector for PUIs. Both are suitable for real-time interaction.

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En este Trabajo Fin de Grado se ha realizado primero un informe técnico de la cámara de profundidad de la empresa SoftKinetic DepthSense 325 y de cuatro entornos de desarrollo que tiene como objetivo el uso de dicha cámara para el desarrollo de interfaces hombre-máquina: Perceptual Computing, RealSense, DepthSense e iisu. Posteriormente, tras la evaluación de los entornos de desarrollo y selección del más adecuado para el objetivo, se ha desarrollado un prototipo de un sistema de reconocimiento visual de gestos de manos. La principal contribución a dicho sistema es el uso de redes neuronales para la clasificación de patrones espacio-temporales que representan los gestos a reconocer. Para el entrenamiento de las redes neuronales, se han probado varias configuraciones y los métodos de optimización basados en Gradiente Conjugado y el Gradiente Conjugado Escalado, eficaces para grandes cantidades de información. El sistema propuesto basado en redes neuronales se ha comparado con las populares Máquinas Vectores Soporte, obteniéndose resultados equiparables en términos de reconocimiento de gestos

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Relatório de Estágio apresentado à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco, em associação com a Faculdade de Arquitetura da Universidade de Lisboa, para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Design Gráfico.