title: Identifying Problems Associated with Focus and Context Awareness in 3D Modelling Tasks

authors: Masoodian, Masood

subjects: empirical studies in visualization

abstract: Creating complex 3D models is a challenging process. One of the main reasons for this is that 3D models are usually created using software developed for conventional 2D displays which lack true depth perspective, and therefore do not support correct perception of spatial placement and depth-ordering of displayed content. As a result, modellers often have to deal with many overlapping components of 3D models (e.g. vertices, edges, faces, etc.) on a 2D display surface. This in turn causes them to have difficulties in distinguishing distances, maintaining position and orientation awareness, etc. To better understand the nature of these problems, which can collectively be defined as ‘focus and context awareness’ problems, we have conducted a pilot study with a group of novice 3D modellers, and a series of interviews with a group of professional 3D modellers. This article presents these two studies, and their findings, which have resulted in identifying a set of focus and context awareness problems that modellers face in creating 3D models using conventional modelling software. The article also provides a review of potential solutions to these problems in the related literature.

text: Identifying Problems Associated with Focus and Context Awareness in 3D Modelling Tasks Creating complex 3D models is a challenging process. One of the main reasons for this is that 3D models are usually created using software developed for conventional 2D displays which lack true depth perspective, and therefore do not support correct perception of spatial placement and depth-ordering of displayed content. As a result, modellers often have to deal with many overlapping components of 3D models (e.g. vertices, edges, faces, etc.) on a 2D display surface. This in turn causes them to have difficulties in distinguishing distances, maintaining position and orientation awareness, etc. To better understand the nature of these problems, which can collectively be defined as ‘focus and context awareness’ problems, we have conducted a pilot study with a group of novice 3D modellers, and a series of interviews with a group of professional 3D modellers. This article presents these two studies, and their findings, which have resulted in identifying a set of focus and context awareness problems that modellers face in creating 3D models using conventional modelling software. The article also provides a review of potential solutions to these problems in the related literature.

year: 2016

title: Five abstraction rules to remove transitions while preserving compositional synthesis results

authors: Mohajerani, Sahar

subjects: computer science

abstract: This working paper investigates under which conditions transitions can be removed from an automaton while preserving important synthesis properties. The work is part of a framework for compositional synthesis of least restrictive controllable and nonblocking supervisors for modular discrete event systems. The method for transition removal complements previous results, which are largely focused on state merging. Issues concerning transition removal in synthesis are discussed, and redirection maps are introduced to enable a supervisor to process an event, even though the corresponding transition is no longer present in the model. Based on the results, different techniques are proposed to remove controllable and uncontrollable transitions, and an example shows the potential of the method for practical problems.

text: Five abstraction rules to remove transitions while preserving compositional synthesis results This working paper investigates under which conditions transitions can be removed from an automaton while preserving important synthesis properties. The work is part of a framework for compositional synthesis of least restrictive controllable and nonblocking supervisors for modular discrete event systems. The method for transition removal complements previous results, which are largely focused on state merging. Issues concerning transition removal in synthesis are discussed, and redirection maps are introduced to enable a supervisor to process an event, even though the corresponding transition is no longer present in the model. Based on the results, different techniques are proposed to remove controllable and uncontrollable transitions, and an example shows the potential of the method for practical problems.

year: 2012-03

title: A Portfolio of Compositions

authors: Dobson, Elizabeth Jane

subjects: music

abstract: The pieces in this portfolio cover a wide range of methods and styles - from work for a single vocalising percussionist, to singing bowl and electronics and a work for full orchestra. The aim of this portfolio is to demonstrate my technical and musical proficiency as well as to give an overview of my personal composing philosophy and style.
The portfolio opens with a work for orchestra, A Study in Scarlet. It differs from my previous orchestral works and is based on a musical code of Sir Arthur Conan Doyle's book, titled A Study in Scarlet. This was read in the 2009 Todd/ NSZO Young Composer Readings. The second work is .manatu.. It features tinkly piano, wind chimes and ethnic instrumentalists in a chamber ensemble to create a musical sound world. This was written for and premiered at Bang on a Can's summer music festival in Massachusetts 2009. The piano work .ātanga. is an adaptation of .manatu. for solo pianist and was written for the Dame Malvina Major Foundations Showcase Concert in New Plymouth. This adaptation proved to be a worthwhile exercise in efficient use of music material. Wrong Number is a Janet Frame poem set for soprano and real-time effect processing of audio. Confessions - Part I and II, for solo violin and string orchestra is based on the Fibonacci series and explores my love for string sonorities. Sand Song was written for a friend who asked me to set a poem she wrote. Here I demonstrate my love for setting text and voice to say something beautiful and precise. This song now stands as a eulogy for her Father. Parihaka, for vocalising percussionist, is a setting of Apirana Taylor's poem Parihaka and was written for Australian performer Louise Devenish. I explore further in the realm of live acoustic and electroacoustic music with Orison a piece I wrote for myself to perform live with singing bowl and Ableton Live. Finally The Headlines Today for five improvising musicians explores the music of shouting and the vernacular of place.

text: A Portfolio of Compositions The pieces in this portfolio cover a wide range of methods and styles - from work for a single vocalising percussionist, to singing bowl and electronics and a work for full orchestra. The aim of this portfolio is to demonstrate my technical and musical proficiency as well as to give an overview of my personal composing philosophy and style.
The portfolio opens with a work for orchestra, A Study in Scarlet. It differs from my previous orchestral works and is based on a musical code of Sir Arthur Conan Doyle's book, titled A Study in Scarlet. This was read in the 2009 Todd/ NSZO Young Composer Readings. The second work is .manatu.. It features tinkly piano, wind chimes and ethnic instrumentalists in a chamber ensemble to create a musical sound world. This was written for and premiered at Bang on a Can's summer music festival in Massachusetts 2009. The piano work .ātanga. is an adaptation of .manatu. for solo pianist and was written for the Dame Malvina Major Foundations Showcase Concert in New Plymouth. This adaptation proved to be a worthwhile exercise in efficient use of music material. Wrong Number is a Janet Frame poem set for soprano and real-time effect processing of audio. Confessions - Part I and II, for solo violin and string orchestra is based on the Fibonacci series and explores my love for string sonorities. Sand Song was written for a friend who asked me to set a poem she wrote. Here I demonstrate my love for setting text and voice to say something beautiful and precise. This song now stands as a eulogy for her Father. Parihaka, for vocalising percussionist, is a setting of Apirana Taylor's poem Parihaka and was written for Australian performer Louise Devenish. I explore further in the realm of live acoustic and electroacoustic music with Orison a piece I wrote for myself to perform live with singing bowl and Ableton Live. Finally The Headlines Today for five improvising musicians explores the music of shouting and the vernacular of place.

year: 2010