Добірка наукової літератури з теми "Visual Cluttering"

Purpose Among the best strategies to address inadequate speech monitoring skills and other parameters of communication in people with cluttering (PWC) is the relatively new but very promising auditory–visual feedback (AVF) training ( van Zaalen & Reichel, 2015 ). This study examines the effects of AVF training on articulatory accuracy, pause duration, frequency, and type of disfluencies of PWC, as well as on the emotional and cognitive aspects that may be present in clients with this communication disorder ( Reichel, 2010 ; van Zaalen & Reichel, 2015 ). Methods In this study, 12 male adolescents and adults—6 with phonological and 6 with syntactic cluttering—were provided with weekly AVF training for 12 weeks, with a 3-month follow-up. Data was gathered on baseline (T0), Week 6 (T1), Week 12 (T2), and after follow-up (T3). Spontaneous speech was recorded and analyzed by using digital audio-recording and speech analysis software known as Praat ( Boersma & Weenink, 2017 ). Results The results of this study indicated that PWC demonstrated significant improvements in articulatory rate measurements and in pause duration following the AVF training. In addition, the PWC in the study reported positive effects on their ability to retell a story and to speak in more complete sentences. PWC felt better about formulating their ideas and were more satisfied with their interactions with people around them. Conclusions The AVF training was found to be an effective approach for improving monitoring skills of PWC with both quantitative and qualitative benefits in the behavioral, cognitive, emotional, and social domains of communication.

Introduction Cerebral visual impairment (CVI) typically affects children's overall functioning in visually cluttered environments. This study aims to consider whether the removal of classroom clutter ameliorates visual problems and the associated behavioral difficulties for these children. Methods Two classrooms at a special school were de-cluttered. Changes included: covering glass panels with thick black paper; hanging sheets over open shelving; creating areas of blank wall in front of the student to focus attention on work; removing unnecessary equipment and furniture; and taking down information on windows and walls, and that hanging from ceilings. Teachers, paraeducators, and students worked in these classrooms for two weeks, following typical daily routines. Observations by teachers and paraeducators of students’ behavior and learning experiences before and after de-cluttering were sought through interviews. Findings The perspectives of the teachers and paraeducators were that de-cluttering had a positive effect on the students’ learning experiences and behavior and also on their own functioning. They also considered the fact that creation of learning spaces lined with black paper resulted in greater attention and focus, but that students continued to be distracted by the noise and movement of others. Discussion The potential link between cluttered classrooms and students’ functioning and behavior indicates that visual clutter may amplify the visual difficulties associated with CVI and distract the students from learning activities, and is in line with current literature. Changes to classroom layouts that include specific areas for different learning activities, including “black hubs,” may therefore benefit students with CVI. Implications for practitioners This pilot study suggests that the elimination of classroom clutter and the creation of black hub learning spaces enhances functioning and merits further investigation. A study that compares specific behaviors and performances, before and after implementation of de-cluttering strategies, might also determine whether the positive effects described by the teachers can be further corroborated.

Abstract. Iconographic representations, such as historical photos of geographic spaces, are precious cultural heritage resources capable of describing a particular geographical area’s evolution over time. These photographic collections may vary in size, between hundreds and thousands of items. With the advent of the digital era, many of these documents have been digitized, spatialized, and are available online. Browsing through these digital image collections represents new challenges. This paper examines the topic of historical image exploration in a virtual environment enabling the co-visualization of historical photos into a contemporary 3D scene. We address the topic of user interaction considering the potential volume of the input data. Our methodology is based on design guidelines that rely on visual perception techniques to ease visual complexity and improve saliency on specific cues. The designs are additionally implemented following an image-based rendering approach and evaluated in a group of users. Overall, these propositions may be a notable addition to creating innovative ways to visualize and discover historical images in a virtual geographic environment.

When conducting visual observations, the main criteria for assessment of their sites of location’s state should include: the degree of chemical contamination and / or mechanical cluttering of the riverbed and the banks, the floodplain and valley slopes, the water-shed surface; the dynamics of geological-engineering process in the studied area; visible deformations of the linear objects. Comparison and analysis of data received in the process of visual inspection of the waterway crossings allow us to state out that all sites have the same common problem, which is the development of the erosion process on the natural slopes, or on the slopes of the roadway and of the road ditches. The most dangerous areas for the linear part of the pipelines are those that are characterized by complex stress conditions, including longitudinal slopes in the zone of exogenous process action, transitions through the waterways and marshes, and curvilinear sections.

Cluttering is a syndrome characterised by a wide range of symptoms. It always contains one or more key elements such as abnormally fast speech rate, greater than expected number of disfluencies, reduced intelligibility due to over-coarticulation and indistinct articulation, inappropriate brakes in speech pattern, monotone speech, disturbance in language planning, etc. Drama activities and storytelling share a number of features that allow spontaneous use during therapy process and detachment from real-time, concrete place or true identity, and therefore allow unprecedented freedom in choosing and creating speech-language expressions. The use of drama elements and techniques in cluttering therapy enables better focusing of the child during therapeutic process and better integration of acquired speech/language skills and knowledge. During therapy, we should be aware to correct the patient both in speech production and in the perception of his/her own speech. From the aspect of speech pathology, it is important how auditory and visual information during patient’s production influence on his/her overall perception of his/her own speech. For all those reasons, it is especially important to choose the appropriate story or event and to present it in a way that ensures good interaction during therapy. The presentation of dramatisation is the ideal tool for stimulation and development of different speech activities, with focus on fluency, correct articulation and other elements that make up values of spoken language. Drama techniques can be implemented trough drama activities or storytelling. When working with children, storytelling and drama techniques can be integrated and combined in multiple ways in order to provide robust and flexible transition toward a structured language.

Advances in data generation and acquisition have resulted in a volume of available data of such magnitude that our ability to interpret and extract valuable knowledge from them has been surpassed. Our capacity to analyze data is hampered not only by their amount or their dimensionality, but also by their relationships and by the complexity of the systems they model. Compound graphs allow us to represent the existing relationships between nodes that are themselves hierarchically structured, so they are a natural substrate to support multiscale analysis of complex graphs. This paper presents Carbonic, a framework for interactive multiscale visual exploration and editing of compound graphs that incorporates several strategies for complexity management. It combines the representation of graphs at multiple levels of abstraction, with techniques for reducing the number of visible elements and for reducing visual cluttering. This results in a tool that allows both the exploration of existing graphs and the visual creation of compound graphs following a top-down approach that allows simultaneously observing the entities and their relationships at different scales. The results show the applicability of the developed framework to two use cases, demonstrating the usefulness of Carbonic for moving from information to knowledge.

Title: Identification of Arcade Utilization and Implementation of Zero Setbacks in West Jakarta Perda No. 1 - 2014 about Jakarta’s Zoning Regulation mentioned about guidance which control building setback, streets, and right of way; in the way to achieve well-ordered cityscape in terms of urban design and architecture. However, there are unclear statement about area characterized with arcade and zero setbacks. In actual condition, there is location dominated by zero setbacks appearance based on necessary needs. This issue trigerred visual cluttering in cityscape. Based on that condition, this study tried to understand and identify location in administrative West Jakarta area which indicate arcade and zero setbacks due to its affected aspects. Site observation and mapping used as a method to finding data and analyze the process to get overall trend and tendency. Findings about this study represent such condition wtih incontinuity pattern about arcade and zero setbacks in some area or corridor. Proposal about spatial planning in conclusion of this study role as suggestion to evaluate the regulation.

Purpose: The purpose of this study was to investigate listener perception of communication effectiveness when listening to samples of speakers who clutter and exhibit excessive revisions as compared to control speakers matched by gender and education level. Method: In this study, 100 undergraduate listeners rated 30-s monologue samples of adults who clutter and whose speech contained excessive revisions. Ratings were collected via a visual analog scale. After marking their ratings, listeners were asked to write down any details they could recall from each monologue. Results: Adults who clutter were rated significantly poorer than controls in the categories of message, conciseness, flow, and organization. There were no significant differences in ratings by class year. Descriptively, listeners also inaccurately identified the main idea of each speaker's message more often when listening to adults with cluttering as compared to controls. Thematic analysis of listener comments emphasized themes of increased speed, difficulty understanding words, and lack of organization and cohesion among adults who clutter. By contrast, listener comments for controls emphasized increased flow and ease in following speakers' messages. Conclusions: This study provides objective data that listeners judged those who clutter with excessive revisions less favorably than controls in terms of their ability to understand the speakers' main point, ability to get to the point, smooth flow of speech, organization of message, and clarity of speech. These judgments occurred despite normal scores on standardized language tests among the participants with cluttering.

As the science fictional years come upon us -- 1999, 2000, 2001 -- there is a sense that this is the future, and nothing much has changed. Indeed, the future has turned out to be pretty much like the past, but with Tamagotchis and Karaoke. Beyond Darko Suvin's adoption of the term "novum" and the souls sold to the demons of postmodernism, the criticism of science fiction remains more or less the same as it did thirty years ago, except that it is now often written by people who have only read Neuromancer. It is high time that this critical apparatus was shaken up. The various techniques and devices in the arsenal of the contemporary science-fiction writer need to be explored anew. In The Encyclopedia of Fantasy, Clute and Grant introduced a series of terms, such as "polder" and "instauration", which they made use of in their analyses of the fantastic mode1. It is hoped that the terms I introduce gain similar currency. In the limited space I have available, I can only explore the terminology of plot. The key to the popular fictional genres, both visual and literary, is that they are defined by a certain sense of familiarity with the material, a familiar engendered by repetition with difference. Even within this overall scheme of generic recognition, there is a stage further when a plot is borrowed entire from another work. It is clearly easy for a writer to borrow a plot from someone else, as it is known that it already works, has already pleased readers and rations out the degree of originality in a genre which depends upon originality. For example, Dan Simmons's Hyperion has a series of characters telling each other stories to pass the time on a journey: obviously this is Geoffrey Chaucer's The Canterbury Tales. But in addition to that it is a gathering together of disparate characters, who are going to go and visit this wonderful, strange being, to ask for their deepest desires. As I read this, I began to wonder whether one of them wanted a brain and one of them wanted a heart and one of them wanted courage and one of them wanted to go back to Kansas. This is of course the structure of The Wizard of Oz. Hyperion is thus Canterbury Tales meets Wizard of Oz sung to the tune of Keats, and is therefore hailed as being startlingly original. At the end of Hyperion, as the characters go off to see the Wizard, one character bursts into song: 'What's that song you're singing to Rachel?' The scholar forced a grin and scratched his short beard. 'It's from an ancient flat film...' 'But who is the wizard?' asked Colonel Kassad... 'And what is Oz?' asked Lamia. 'And just who is off to see this wizard?' (Hyperion 500-1) In order to avoid charges of plagiarism, Simmons reveals his sources, or, to be more charitable, acknowledges the intertextual borrowing which he has been engaged in. Another plot which gets used again and again is in cyberpunk, where the non-spatial realm of cyberspace stands in for the realm of the dead, the Underworld, and an analogue for Orpheus is sent to rescue a version of Eurydice: a female is kidnapped by a god of the Underworld, and a male hero has to rescue her, only to be trapped behind himself. This is the plot which underlies Vurt, Snow Crash, and one of the less obvious cyberpunk classics, Mythago Wood. The titular wood is a realm whose interior dimensions do not match the exterior's, rather like cyberspace. The main character's entry into the wood to rescue his brother and mother / sister-in-law / lover strikes a suitable note of incest, and the beings encountered there are mythic archetypes. As Pollen was to make clear, the Underworld is the realm of the collective unconscious, the realm of Story, Myth and Archetype2. The great trilogy of the 1990s, Kim Stanley Robinson's Mars Trilogy, borrows the structure of The Lord of the Rings. In Fellowship of the Ring a group of disparate characters come together and set off on a mission, there's a great calamity following a betrayal and they are all scattered. In the next volume, The Two Towers, the scattered characters wander around aimlessly, not really achieving anything, and there's a couple of battles or revolutions. Finally in The Return of the King there are last climatic battles, councils of peace, characters die of old age and there's a sense of loss, that the world has been changed, but for the next generation. Compare this to the structure of Robinson's epic: in Red Mars a group of disparate characters (the First Hundred) come together and set off on a mission to Mars, there's a great calamity following a betrayal and they are all scattered. In Green Mars the scattered characters wander around aimlessly, not really achieving anything, and there's a couple of battles or revolutions. Blue Mars depicts a final climatic battle, councils of peace, characters die of old age -- as does the reader -- and there's a sense of loss, that the world has been changed, but for the next generation. (Curiously Kim Stanley Robinson next work, Antarctica, was a reworking of Blue Mars, but without the Mars, a feature it also shares with Lord of the Rings.) Repetition in narratives happens with entire works, but also within narratives. These are known as Cookie Dough Plots. Home-made cookies are made by using cutters which produce the same shape again and again from dough. In the same way, narratives can be constructed from a series of broadly similar events which are repeated ad infinitum. A recent example of this is Dan Simmons's Endymion (1996), where the entire plot is organised around the two poles of: 'We're being chased' and 'Phew, we've escaped'. This fills up over four hundred pages. The Ping Pong Plot is one where two plotlines interconnect and are told alternatively: two sets of characters are involved in two separate storylines, where the action is occurring simultaneously and the author cuts between the two. William Gibson does this a lot in his fiction, with increasing numbers of character sets. Strangely enough, great science fiction of twenty or thirty years ago was around two hundred pages in length, and great science fiction of today is around the four hundred page mark. It's twice the size of an old novel. Most of these novels use the Ping Pong Plot, with events alternating between two sets of characters who usually, but not always, meet up by page four hundred. They might as well be in separate novels. In fact what we appear to have in today's great science fiction, is two novels. As no-one would pay $50 for a two hundred page novel, they get two for the price of one, shuffled in accordance to the rules of Ping Pong. In Jovah's Angel, by Sharon Shinn, there are two sets of characters: the first plot is an angel looking for her mortal beloved soul mate or perfect man and the second is a man wandering around. And reading it, the reader thinks, 'Ooh, I wonder who her perfect man is going to be? Ooh, there's another 390 pages to find out.' The novel is an example of the Ping Pong Cookie Dough Plot variant, where the chase-escape-chase format is enlivened by switching -- Ping-Ponging -- between the chaser and the chased. In Jovah's Angel, by Sharon Shinn, there are two sets of characters: the first plot is an angel looking for her mortal beloved soul mate or perfect man and the second is a man wandering around. And reading it, the reader thinks, 'Ooh, I wonder who her perfect man is going to be? Ooh, there's another 390 pages to find out.' The novel is an example of the Ping Pong Cookie Dough Plot variant, where the chase-escape-chase format is enlivened by switching -- Ping-Ponging -- between the chaser and the chased. Perhaps the most significant example of this Timeslip Ping Pong in recent years is Mary Doria Russell's The Sparrow (1996), where the action alternates between the account of the preparation for the voyage and the voyage itself and the account of the aftermath of the voyage. There's the before of events and the after of events, moving towards the discovery of the dark secret at the heart of the tale. It doesn't quite keep up the Ping Pong, as some chapters slip into the past or the future, and the Pings are not sufficiently distinguishable from the Pongs. In the past, series of novellas or novels used a variation on the Timeslip Ping Pong Plot, where the events and resolution of one story sets up the problem for the next. Rather than a series of sequels, what often happened was a number of sequels and prequels, until the final, ultimate and closing Prelude. (In a sense this is what Jack Womack is doing in his Dryco sequence). One variation on this should be known -- after E.E. 'Doc' Smith's novels -- as the My-Ultimate-Weapon-Is-More-Ultimate-Than-Yours-Is Sequence. In every Lensman novel there is an Ultimate Weapon, a weapon too dreadful to use, which they use after all, since they have it around, cluttering up the place. Fortunately for the sequence, the UW can be countered by the Ultimate Strategic Defense Initiative (or USDI) which is much more ultimate, and an even more UW. By the time you get to the eighth novel in the sequence, the UW of the first book ought to be renamed the Antipenultimate Antipenultimate Antipenultimate Antipenultimate Antipenultimate Antipenultimate Penultimate Ultimate Weapon. The preceding terminology covers the major versions of narratives used within contemporary science fiction, narratives which it seems likely will dominate the next century of science fiction. Similarly the same sorts of settings, which I hope to explore elsewhere, will dominate: in particular the rainy city, post-holocaust and the next five minutes (although the pre-millennial tension setting is clearly now obsolete). Footnotes A "polder" is a realm which is deliberately maintained as separate and distinct from the outside world (Clute 772-3). "Instauration fantasies" are those where "the real world is transformed" (Clute 501). For cyberpunk and the underworld narrative see Joan Gordon, "Yin and Yang Duke It Out", in Storming the Reality Studio: A Casebook of Postmodern Science Fiction, ed. Larry McCaffery (Durham and London: Duke UP, 1991). For a longer exploration of Mythago Wood see my article in Vector 192 (March/April 1997): 4, and my "Journeys beyond Being: The Cyberpunk-Flavoured Novels of Jeff Noon", Novel Turns: The Novel in Europe Now, ed. by John Gatt-Rutter (forthcoming). The term "cyberpunk-flavoured" is one I coined for a discussion of the works of Jeff Noon: the novels share a number of characteristics of cyberpunk, whilst not necessarily being unproblematically cyberpunk. A tradition of works which have a realm analogous to cyberspace, or a realm which serves a comparative narrative need, could be identified; Borges's use of the term "precursor" might be useful here to characterise such a tradition, although as Mythago Wood is more or less contemporary with Neuromancer it cannot properly be a precursor. The cyberspatial realm of the Vurt feather is something between an interior mental landscape and a computer game; the wood realm of Mythago Wood is somewhere between an interior mental landscape which can be simulated / created / entered with the use of electrical stimulation on the brain and a secondary world. References Clute, John, and John Grant, eds. The Encyclopedia of Fantasy. London: Orbit: 1997 Citation reference for this article MLA style: Andrew M. Butler. "Towards a Language for Science Fiction Studies: Narratives." M/C: A Journal of Media and Culture 2.9 (2000). [your date of access] <http://www.uq.edu.au/mc/0001/sf.php>. Chicago style: Andrew M. Butler, "Towards a Language for Science Fiction Studies: Narratives," M/C: A Journal of Media and Culture 2, no. 9 (2000), <http://www.uq.edu.au/mc/0001/sf.php> ([your date of access]). APA style: Andrew M. Butler. (2000) Towards a language for science fiction studies: narratives. M/C: A Journal of Media and Culture 2(9). <http://www.uq.edu.au/mc/0001/sf.php> ([your date of access]).

La prosopographie est utilisée par les historiens pour désigner des notices biographiques afin d'étudier des caractéristiques communes d'un groupe d'acteurs de l'histoire au moyen d'une analyse collective de leur vie. La visualisation d'informations présente des perspectives intéressantes pour analyser les données prosopographiques. C'est dans ce contexte que se situe le travail présenté dans ce mémoire. Dans un premier temps, nous présentons la plateforme ProsoVis conçue pour analyser et naviguer dans des données prosopographiques. Nous décrivons les différents besoins exprimés et détaillons les choix de conception ainsi que les techniques de visualisation employées. Nous illustrons son utilisation avec la base Siprojuris qui contient les données sur la carrière des enseignants de droit de 1800 à 1950. La visualisation d'autant de données pose des problèmes d'encombrement visuel. Dans ce contexte, nous abordons la problématique des chevauchements des nœuds dans un graphe. Différentes approches existent mais il est difficile de les comparer car leurs évaluations ne sont pas basées sur les mêmes critères de qualité. Nous proposons donc une étude de l'état de l'art et comparons les résultats des algorithmes sur une liste homogène de critères. Enfin, nous abordons une autre problématique d'encombrement visuel au sein d'une carte et proposons une approche de regroupement spatial agglomératif, F-SAC, beaucoup plus rapide que les propositions de l'état de l'art tout en garantissant la même qualité de résultats
Prosopography is used by historians to designate biographical records in order to study common characteristics of a group of historical actors through a collective analysis of their lives. Information visualization presents interesting perspectives for analyzing prosopographic data. It is in this context that the work presented in this thesis is situated. First, we present the ProsoVis platform to analyze and navigate through prosopographic data. We describe the different needs expressed and detail the design choices as well as the different views. We illustrate its use with the Siprojuris database which contains data on the careers of law teachers from 1800 to 1950. Visualizing so much data induces visual cluttering problems. In this context, we address the problem of overlapping nodes in a graph. Even if approaches exist, it is difficult to compare them because their respective evaluations are not based on the same quality criteria. We therefore propose a study of the state-of-the-art algorithms by comparing their results on the same criteria. Finally, we address a similar problem of visual cluttering within a map and propose an agglomeration spatial clustering approach, F-SAC, which is much faster than the state-of-the-art proposals while guaranteeing the same quality of results