Interaction Design for the Semantic...
Transcript of Interaction Design for the Semantic...
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Interaction Design for the Semantic Web
Lynda Hardman http://www.cwi.nl/~lynda/courses/USI08/
CWI, Interactive Information Access UvA, Institute for Informatics
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Presentation of Google results: text
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Presentation of Google results: image
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One size doesn’t fit all
Reflection on development of different media types
• Image • Text • Audio • Video
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We had images
Cave Chauvet-Pont-D’Arc © Jean Clottes
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And then we developed text
Dead Sea scrolls
Newspapers
Recording sound
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Thomas Edison Phonograph, 1877 http://www.firstsounds.org/sounds/scott.php
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Visual (moving images)
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Visual (moving images)
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“Media” types are flourishing
• Personal computers – spreadsheet – word processor
• Web – browser – “Google” – link-based search algorithms
• Web 2.0 – blogs – facebook – (linked data)
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Why can’t “we” design new technology? • users
– unable to see beyond current technology
• technologists – busy developing incremental, complex technology – new technology enables new/unpredictable functionality – don’t know how to talk users about their real needs
• interface designers – new solutions close to existing solutions
• (new media) artists – “random” exploration of interaction space – driven by
novel/creative but not “useful”
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The Problem
• The semantic web is new technology – and is developing rapidly
• We don’t know how users want to use it • We don’t know how to combine pieces of
media and knowledge to help users
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The Context
• Web – open and linked – is with us now
• Semantic Web – open and richly linked – is under development – particularly for machine processing
• User’s information seeking task
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Interaction Design for the SW • Long term goal to find and present information to end-users
– In a way that is useful to them • You understand interfaces and how to design them by hand.
– How can machines help us with the details? • We can capture semantics about information design for re-use.
– Not there yet. • We can use information sources available on the SW and make them
available to end-users. – That’s what much of this week is about.
• Then we need to deal with: – Selecting a sub-set (semantic search) – Grouping and ordering (linking to extra) for presentation.
(Start with "data" based structuring and move to discourse based.) • New search functionality
– beyond fact-finding • And then we need to understand what good new interfaces are.
– Evaluating an existing interface is relatively easy
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Overview of topics
• Dependencies in multimedia design • Semantics for improving interaction • NewsML 2.0: semantics of news media
assets • Vox Populi: creating argument structure
with video fragments
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Three ingredients
Content
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Content of example
Clair-obscur (Frans) en chiaroscuro (Italiaans) betekenen 'licht-donker'. Beide termen worden gebruikt om sterke licht-donkercontrasten in schilderijen, tekeningen en prenten aan te duiden. Hoewel het effect al eerder werd toegepast, is de term pas sinds het einde van de 16de eeuw in zwang. De oorsprong van het woord ligt in Italië. De schilder Caravaggio (1573-1610) maakte het chiaroscuro-effect tot zijn handelsmerk. Hij was een meester in het schilderen van donkere taferelen met één felle lichtbundel.
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Three ingredients
Content
Presentation structure
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Presentation structure of example
Clair-obscur (Frans) en chiaroscuro (Italiaans) betekenen 'licht-donker'. Beide termen worden gebruikt om sterke licht-donkercontrasten in schilderijen, tekeningen en prenten aan te duiden. Hoewel het effect al eerder werd toegepast, is de term pas sinds het einde van de 16de eeuw in zwang. De oorsprong van het woord ligt in Italië. De schilder Caravaggio (1573-1610) maakte het chiaroscuro-effect tot zijn handelsmerk. Hij was een meester in het schilderen van donkere taferelen met één felle lichtbundel.
Chiaroscuro & Rembrandt Harmensz. Van Rijn
description examples
title
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Three ingredients
Content
Presentation structure
Aesthetics
abcdefghij abcdefghijklmn ABCDEFGHIJK abcdefghijklm abcdefghijklm
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Aesthetics of example
Colours
Fonts
Layout
Colours
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Design dependencies
Content
Presentation structure
Aesthetics
abcdefghij abcdefghijk ABCDEFGHIJK abcdefghijk abcdefghijk
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Presentation Structure depends on Layout
description
title
title
description
description examples
title
description examples
title
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Style Depends on Content
Chiaroscuro & Rembrandt
The Stone Bridge (1638)
Chiaroscuro & Rembrandt
The Stone Bridge (1638)
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Rembrandt
Caravaggists
Presentation structure depends on content
chiaroscuro
1631 1628
1638
1623
1628
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1631 1628 1638 1623 1628
Example Presentation Structure
Rembrandt
Chiaroscuro
Caravaggists
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Different presentation styles
• Large amount of information • High interaction
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Different presentation styles
• Entertainment rather than information • Low interaction
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Flexible interfaces to MM on SW
• Creating multimedia presentations requires – understanding the message of the presentation
– knowing specifications of use context
– taking design dependencies into account
• The SW can help by – making domain and design knowledge explicit
– deploying rules that use this knowledge
– to generate richly annotated hyper/multimedia presentations