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2nd CFP: ACM RecSys 2012 Workshop on Interfaces for Recommender Systems (InterfaceRS'12)
by Rong Hu 23 May '12

23 May '12

2nd CALL FOR PAPERS: ACM RECSYS WORKSHOP ON INTERFACES FOR RECOMMENDER SYSTEMS (InterfaceRS'12) Held in conjunction with RecSys 2012 13th September, Dublin, Ireland InterfaceRS’12: https://www.abdn.ac.uk/~csc284/InterfaceRS/index.html RecSys'12: http://recsys.acm.org/2012/ Submission deadline: 8 June 2011. ======================================================= As a half-day workshop, InterfaceRS desires to bring together researchers and practitioners around the topics of designing and evaluating novel intelligent interfaces for recommender systems in order to: (1) share research and techniques, including new design technologies and evaluation methodologies (2) identify next key challenges in the area, and (3) identify emerging topics. This workshop aims at creating an interdisciplinary community with a focus on the interface design issues for recommender systems and promoting the collaboration opportunities between researchers and practitioners. As an interactive intelligent system, recommender systems are developed to give recommendations which match users' preferences. Since the emergence of recommender systems, a large majority of research focuses on objective accuracy criteria and less attention has been paid to how users interact with the system and the efficacy of interface designs from users' perspective. Well-designed user interfaces have the capability of enhancing user interaction experience and overall satisfaction. For example, explanation interfaces can increase user confidence in their decision choices and inspire user trust and loyalty to the used system. Nowadays, a variety of novel recommendation technologies have been developed to meet different needs (e.g., group and social recommenders). Recommender systems have also extended to new application platforms (e.g., mobile devices). In addition, heterogeneous information resources have been incorporated into recommender systems (e.g., psychological factors, social media). This brings forward new challenges in designing effective and efficient interfaces for these new recommender applications. Topics of interests include, but are not limited to: – Explanation interfaces – Context-aware interfaces – Social interfaces – Ubiquitous and mobile interfaces – Affective Interfaces – Spoken and natural language interfaces – Collaborative multi-user interfaces – Conversational interfaces – Adaptive interfaces – Argumentation and persuasion interfaces – Example- and demonstration-based interfaces – New approaches to designing interfaces for recommender systems – Case studies – Empirical studies and evaluations of new interfaces – Evaluation methods and metrics (e.g., evaluation questionnaire design) – User studies – Human factors (e.g., privacy, security, trust, confidence, transparency) – Comparative studies across domains – Design guidelines ====================== Submissions ====================== We invite the submission of papers reporting original research, studies, advances, experiences, or work in progress in this area. Three submission types are accepted: • Full technical papers (8 pages), presenting technical, scientific, and/or applicative findings, contribute to the knowledge and understanding of problems of interest, and/or present methodological advancements. • Short technical papers (4 pages), presenting work in progress or of shorter, specific scope. • Short demo papers (4 pages), describing how the novel interface prototype is used to solve practically important problems. A supplemental informal description (1-2 pages) should be attached to the submission, describing what attendees will be able to see or do during your demo (e.g. screenshots), and itemize any equipment or facilities that you will bring for your system demonstration. An accompanying video is optional, but highly encouraged. Any submitted video should be at most three minutes long and 50MB in size. Each paper will be evaluated by at least three reviewers from the Program Committee. The papers will be evaluated for their originality, contribution significance, soundness, clarity, and overall quality. The interest of contributions will be assessed in terms of technical and scientific findings, contribution to the knowledge and understanding of the problem, methodological advancements, and/or applicative value. All submissions shall adhere to the standard ACM SIG proceedings format and be sent as a PDF file via EasyChair (http://www.easychair.org/conferences/?conf=interfacers12) by June 8th, 2012. Note that at least one author of accepted papers needs to register and attend the workshop. ====================== Important Dates ====================== • Paper submission deadline: 8 June 2011. • Author notification: 22 June 2011. • Camera ready version due: 6 July 2011. ====================== Program Committee ====================== Li Chen, Hong Kong Baptist University, China Henrik Eneroth, Antrop, Sweden Alexander Felfernig, Graz University of Technology, Austria Franca Garzotto, Politecnico di Milano, Italy Helen Hastie, Heriot Watt University, UK Eelco Herder, L3S Research Center, Germany Alejandro Jaimes, Yahoo! Research, Spain Joseph Konstan, University of Minnesota, USA Jesse Vig, Palo Alto Research Center, USA Additional members to be announced. ====================== Organizers ====================== Nava Tintarev, University of Aberdeen, Scotland, UK. Rong Hu, EPFL, Switzerland. Pearl Pu, EPFL, Switzerland.

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Imagery in the 21st Century; Oliver Grau (Ed.)
by Image Science 21 May '12

21 May '12

IMAGERY IN THE 21st CENTURY by Oliver Grau, Editor; with Thomas Veigl The MIT Press, Cambridge, MA, 2011 424 pp. illus. 132 b/w. Trade, $40 ISBN-10: 0262015722. With contributions by Sean CUBITT, Martin SCHULZ, Eduardo KAC, Thomas VEIGL, Stefan HEIDENREICH, Olaf BREIDBACH, Dolores & David STEINMAN, James ELKINS, Wendy CHUNG, Christa SOMMERER & Laurent MIGNONNEAU, Marie Luise ANGERER, Peter WEIBEL, Adrian CHEOK, Tim Otto ROTH, Harald KRÄMER, Lev MANOVICH, Martin WARNKE, Oliver GRAU and Martin KEMP Reviewed by Trebor Scholz, Eugene Lang College The New School for Liberal Arts (NY) scholzt(a)newschool.edu (Full hyperlinked version "New Literacies for a New Aesthetic?" by Trebor Scholz: http://tinyurl.com/dx5dwsb As a ten year-old, passing by the Forbidden City of the East German Head of State and his functionaries sparked my imagination. The walled complex, tucked away in a forested area near Berlin, was guarded by an armed division of the Stasi. Back then, you couldn't Google for images of this residential compound; Pinterest, Google Earth, and civilian drones were not around. And even if they were available, there was no grassroots way of mass-reproducing images or texts. Images invade our consciousness. They can bear witness when words are used up. They can mobilize, gratify and inform. They can be put to work as evidence, argument, accusation, and proof. Images can help us to make sense of our surroundings. We surrender to the onslaught of images; sometimes the anti-punctum: senseless, lackadaisically composed, and extraneous. But images also fail us: the desensitizing overabundance of visual material does not stop all the atrocities depicted. Visuality in the early decades of the 21st century is not merely about image manipulation software though, it is about entirely new attitudes toward visuality. In the early years of the 21st century, the collection of essays Imagery in the 21st Century, edited by Oliver Grau with Thomas Veigl sets out to understand what will constitute an image, and what are novel ways to generate, project, and distribute pictures. Imagery in the 21st Century resulted from a conference that Oliver Grau convened. It traverses the disciplinary divides between art history, anthropology, and cell biology, focusing on: the ecological and ethical dimensions of screen technologies (Sean Cubitt), a course on image practices in the university (James Elkins), machinima aesthetics (Thomas Veigl), medical illustration (Dolores and David Steinman), the obsession with source code (Wendy Hui Kyong Chun), novel cultural interfaces (Christa Sommerer and Laurent Mignonneau), the museum as Noah's Arc (Peter Weibel), and the Warburg Image Atlas for a digital age (Martin Warnke). At first, I asked myself, what holds the twenty chapters in this book together. What do all the puzzle pieces add up to? An analysis of contemporary imagery felt like an uncomfortably all-embracing ambition. John Berger, for example, focused on the way oil paintings primarily reflected on the status of those who commissioned the artwork. What are we talking about when we are thinking about contemporary visuality? The advent of infographics, games, CCTV, animated gifs, art generated by algorithms, histograms, 4D visualizations, or Instagram? Constructively, the authors reflect on imagery not merely through the lens of a specific device, genre, social practice, or social function, and it becomes clear that image literacy can no longer be the exclusive domain of art historians. But are we really, as the book suggests, amidst an image revolution? "The curse of the ‘perpetually new’ is perpetual," Bruce Sterling writes. Today, visual culture invades societies that are largely unprepared. We surrender. Appropriately, one important axis of discussion in Imagery in the 21st Century concerns the question of much-needed image literacies. The editors aspire to extract a crosscutting literacy that can catch the elusive phenomena of contemporary visuality. Grau calls for an image competency for our culture that is still largely dominated by writing. Do we speak the language of the image? Illiteracy, Grau suitably suggests, has largely been overcome in most countries but the inability to interpret images adequately, has not been sufficiently considered. With the proliferation of digitization, we are inundated with heaps of information. In this Age of Big Data, the ever growing pile of data becomes unknowable as David Weinberger and others have pointed out. There are ever more data but fewer theories to make sense of them. The world has become harder to know. Visualization, aggregation, curation and the filtering of data become core competencies not only for designers but also for journalists, scholars, artists, and scientists. There is no such thing as information overload, there's only filter failure, as Clay Shirky declared. This is also true when it comes to “abuses of the visual,” as James Elkins put it referring to compulsively created, senseless images. Oliver Grau and Thomas Veigl demand new forms of visualization to face this explosion of knowledge. For me, the visual should not merely connect us to the sciences, as Elkins suggests, but also to the political power of images. Think of the work of the British cultural critic Judith Williamson (e.g., Decoding Advertising), the artworks by Alfredo Jaar, Emily Jacir, Trevor Paglen or Alan Sekula. Or, take the recently published book Right To Look, in which Nicholas Mirzoeff argues that "visuality has been central to the legitimization of Western hegemony." Such discussion of global image power as political force is indispensable. In his chapter in Imagery in the 21st Century, “Visual Practices the University: A Report,” James Elkins suggests that today, learning mainly happens through images. Already in 1924, the German art historian and cultural theorist Aby Warburg used arrangements of images from distant times and places. In his Mnemosyne-Atlas he combines images to create meaning. In fact, Warburg's writing is hard to understand without comprehending his Atlas. Do images really push themselves in front of words, as Elkins claims? Have words hopelessly deteriorated? The editors argue along those lines: “It would appear that images have won the contest with words." (6) Indeed, long-form platforms like WordPress grow slower than short-form writing and image sharing through micro-blogging services. The image sharing board Pinterest grows at an explosive rate. An Instagram photos make sharing even faster than tweets. But thinking of the media representation of the Rwandan genocide in 1994 or the Kosovo War in 1999- images failed to make these atrocities vivid enough; they did not do very much. Susan Sontag concludes that narrative and contextual framing establish more meaning than images. But luckily learning in colleges and universities is still largely based on texts. Part of my responsibility as a professor is to bring students into the intimate, delicious sphere of reading. The visuality of Khan Academy’s hand-written lectures on videos is an interesting hybrid. But still, we largely discover the universe through words. The long sentence is worth defending against the click-click moments of the networked cacophony. Sean Cubitt's in his chapter “Current Screens” instructs us to consider specifically the ethical-ecological layer of discussions about screen technologies. Her emphasizes that our culture is highly material, especially when you consider the ecological footprint of the raw materials. LCD screens, for example, are poorly biodegradable and potentially significant water contaminants. Sean Cubitt demands that next steps cannot be achieved without respect for the poor and for the ecosphere. Cubitt's essay also reminded me of the fact that an avatar in the virtual world Second Life consumes as much electricity as a real life person in Brazil. The "immaterial" can't escape the burden, the solace, and social costs of the material world. In this discussion of visual culture, media art has a role to play. How can we rescue digital artworks from oblivion? Oliver Grau's warns of the total loss of our cultural memory of digital art of the past ten years. Most definitely, hardware and operating systems change and without explicit, thoughtful, and well-funded efforts, most works will indeed be lost. There is no one-fits-all preservation solution. Oliver Grau, who is also the author of Virtual Art: From Illusion to Immersion, provides impressive examples of indispensable media artworks like Jeffrey Shaw's T-Visionarium. Peter Weibel, in his chapter, states that a degree of democratization and personalization of technology has helped to empower users. We are all consumers and producers of visual culture. Art, too, is included in this democratization. Painters no longer have a monopoly on creating images ever since photography made it possible for everyone to take pictures. Artists have lost their monopoly on creativity. Museums, Weibel suggests, are floating crates. They are meant to store works in their bellies, just like Noah’s Ark. They are meant to assure that artworks do not perish. If we inquire how many works have been preserved during the last century, the estimates vary between 1% and 7% of the whole production of art. Museums have done a poor job, Weibel states. They have passed judgments with the guillotine of history–separated out the majority of art and rejected it. Today, when I return to the former East Germany, my GPS powered cellphone will not only lead my way, but it will also reveal all that was hidden back when I drove by Erich Honecker Secret City. Smartphones embed geographic location in the photos that I capture. While pressing my fingers into the hardcover of Imagery in the 21st Century, I can’t stop myself from asking why a publication that is so much about the liquidity of the frameless image, the shrinking shelf life of the jpg, a book that so heavily relies on hyperlinked references, is not published online. High quality images, animated gifs and videos could be included this way. An interactive, web-based publication, however, could have better served as an open educational resource, made the content available to far more people, very much supporting the kind of thinking that the publication encourages. This is not a shortcoming of the editors but it behoves all of us to find adequate and creative responses to the old business models of mechanical reproduction. I was thrilled to read Grau’s Imagery in the 21 Century and I will use it in my teaching. The book can be brought into productive conversation with Nicholas Mirzoeff's Right to See, David Weinberger's Too Big To Know, Cathy Davidson's Now You See It, and also Design Studies: A Reader, edited by my New School colleagues Hazel Clark and David Brody. Imagery in the 21 Century is a fabulous resource for the reflection on contemporary visuality.

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ACM TiiS special issue and XDATA submission deadline
by Remco Chang 18 May '12

18 May '12

Apologies for cross-listing Due to an unanticipated conflict between the submission deadlines for DARPA XDATA and the ACM TiiS special issue on Interactive Computational Visual Analytics, members of the community has brought to our attention the difficulty in submitting to the TiiS special issue on the previously announced date of May 31. If you are in such a situation and would like for more time, please send me an email (remco(a)cs.tufts.edu) to request for an extension for up to two weeks. When you do so, please include a preliminary abstract of your planned submission. Thank you for your interest and we look forward to your submissions! Sincerely, Remco Call for Papers Subject: ACM TiiS special issue on Interactive Computational Visual Analytics Special Issue of the ACM Transactions on Interactive Intelligent Systems on INTERACTIVE COMPUTATIONAL VISUAL ANALYTICS Main submission deadline: May 31st, 2012 http://tiis.acm.org/special-issues.html AIMS AND SCOPE Visual analytics is defined as "the science of analytical reasoning facilitated by visual interactive interfaces." Since its inception in 2006, the field has grown to encompass a wide array of topics relating to the theory, design, and development of interactive visual interfaces for the purposes of data exploration, data analysis, sense making, and decision making. While the scope of visual analytics is broad, one principle that has emerged over the years is the need for visual analytics systems to leverage computational methods in data mining, knowledge discovery, and machine learning for large-scale data analysis. In these systems, the human operator works alongside the computational processes in an integrated fashion - the computer can sift through large amounts of data and identify the relevant information, while the human interactively explores the reduced data space to discover trends and patterns and make informed decisions. The two components operate in coordination, allowing for a continuous and cooperative analytical loop. This special issue will publish papers that address how computational methods can be integrated into interactive visualization systems from a variety of perspectives. The dimensions listed below indicate the range of work that is relevant to the special issue. In case of doubt about the relevance of your topic, please contact the guest editors. TOPIC DIMENSIONS Models, Theory, and Methods for Interactive Computational Visual Analytics - Mathematical foundations of data transformations - Data management and knowledge representation - Integration of multiple or disparate simulation models - Interaction, analytical discourse, and sensemaking - Analytic provenance and quantification and storage of interactions - ... Real-World Applications Using Interactive Computational Visual Analytics - Large-scale (real-world scale) data - High-dimensional data - Real-time data - Streaming data - Geospatial data - ... Evaluation of Interactive Computational Visual Analytics - Empirical and observational studies - User studies with general implications - Novel evaluation techniques - ... SPECIAL ISSUE ASSOCIATE EDITORS - Remco Chang, Tufts University (contact: remco[at]cs[dot]tufts[dot]edu) - David Ebert, Purdue University - Daniel Keim, University of Konstanz IMPORTANT DATES - By May 31st, 2012: Submission of manuscripts - By September 13th, 2012: Notification about decisions on initial submissions - By December 12th, 2012: Submission of revised manuscripts - By February 10th, 2013: Notification about decisions on revised manuscripts - By March 12th, 2013: Submission of manuscripts with final minor changes - Starting April, 2013: Publication of the special issue on the TiiS website, in the ACM Digital Library, and (shortly afterward) as a printed issue HOW TO SUBMIT Please see the instructions for authors on the TiiS website (tiis.acm.org) ABOUT ACM TiiS TiiS (pronounced "T double-eye S") is a recently founded ACM journal for research about intelligent systems that people interact with. The journal's procedures and infrastructure have been designed to combine the traditional quality and depth of ACM journals with the efficiency and predictability of the best-run conferences. Remco -- Remco Chang Assistant Professor Department of Computer Science Tufts University http://www.cs.tufts.edu/~remco (office) 617-627-3681 (lab) 617-627-6514

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Cfp: ACM Interactive Tabletops & Surfaces 2012
by Petra Isenberg 16 May '12

16 May '12

Call for Participation: Papers & notes, demos, posters, and doctoral symposium ACM Interactive Tabletops & Surfaces 2012 "Surfaces Every Day" ---------------------------- November 11-14, 2012 Cambridge, MA, USA http://its2012conf.org/ Twitter: @its_2012 Facebook: https://www.facebook.com/pages/ITS-2012/201803849895141 ------------------------------ The field of Interactive Tabletops and Surfaces is rapidly evolving. Hardware prices are falling, core sensing technology is improving, software toolkits are maturing, and interaction paradigms are slowly beginning to solidify. As a result, interactive tabletops and surfaces are increasingly making their way beyond laboratories and appearing in a wide variety of private and public spaces including museums, offices, schools, airports, hotels, medical centers, and homes. Such surfaces employ a variety of technologies (capacitive sensing, computer vision, motion sensors, etc.) and appear in varied form-factors (large walls and tabletops, tablets and slates, flexible materials, on-demand projection, etc.). The ACM conference on Interactive Tabletops and Surfaces brings together researchers and practitioners from a variety of backgrounds and interest areas. The intimate size of this single-track symposium provides an ideal venue for leading researchers, practitioners, and students to exchange research results and experiences. We encourage submissions on (but not limited to) the following topic areas as they relate to interactive tabletops and surfaces: Systems for, experiences with, and/or evaluations of surfaces in specific application areas (education, science, business, entertainment, health, accessibility, homes, etc.) Gesture-based interfaces Multi-modal interfaces Tangible interfaces Novel interaction techniques Data handling/exchange Information visualization/data presentation Software engineering methods Computer supported collaborative work Co-located, distributed, or mixed-presence collaboration Middleware and network support Virtual reality and augmented reality Social protocols Hardware, including sensing and input technologies with novel capabilities Human-centered design and methodologies Interaction in context Evaluations and user studies CALL FOR PARTICIPATION: PAPERS AND NOTES We invite paper submissions of two kinds: Papers (10 pages) and Notes (4 pages). Papers must present original, innovative, and forward-looking research, possibly in one or more of the themes given above. Notes must also report novel and complete research, but with a more focused and succinct contribution than papers. Submissions must be submitted as a single PDF file in the ACM format through the submission system. When appropriate, authors are also encouraged to submit a supplementary video file (not to exceed 3 minutes in length and 30 MB in size). Important Dates June 25, 5:00 p.m. PDT: Deadline for initial submissions August 1: First-round notifications (Revise or Reject) August 24, 5:00 p.m. PDT: Deadline for revised submissions September 12: Final notifications (Accept or Reject) September 22: Deadline for camera-ready submissions New Review Process We are excited to introduce a new review process for ITS 2012. For details please see the cfp on our website: http://its2012conf.org/participationPapers.html#papers Mentoring ITS 2012 offers a mentorship program to help those with less experience in academic publication. This mentoring program is intended primarily for authors from non-academic backgrounds, including industry. Mentors will be the chairs or volunteers who are familiar with successful submissions at ITS and relevant conferences (such as CHI, UIST, and CSCW). They will help you prepare your submissions to the ITS audience through one-on-one advising. However, please note that we cannot guarantee that your submission will be accepted at ITS in any case. The deadline to submit a mentoring request is 5:00 p.m. Pacific Daylight Time on June 12, 2012. Please see the website for further details: http://its2012conf.org/participationPapers.html#papers CALL FOR PARTICIPATION: DEMOS The ITS demo session provides an interactive forum for authors to present research prototypes and work-in-progress to conference attendees and receive feedback from the leading experts in interactive surface research. Both independent demonstrations and those accompanying accepted papers and posters are welcome. At the conference, we want the ITS participants to literally get in touch with your demos with the goal of having lively discussion and a hands-on experience. Demo proposals should be submitted through our online system in the form of: * a video of up to 3 minutes length * a 2-page extended abstract that will be published in the ACM DL (Latex template, Word template) and * a supplemental text document describing the necessary spatial and technical requirements for your demo (template will be made available soon). Please submit your video and PDF documents through the conference submission system by August 7, 2012. For specific queries, please contact: demos(a)its2012conf.org CALL FOR PARTICIPATION: POSTERS We invite researchers and practitioners to submit their work to the poster category of ITS 2012. Posters provide an interactive forum for authors to present research prototypes and works in progress to conference attendees. Posters provide the opportunity for researchers to get feedback on early-stage work, and to discuss potential collaborations in an informal setting during the conference. Submissions should be in the form of a 4-page extended abstract. The posters themselves will not be submitted with the abstracts - instead they should be brought to the conference by the author. The abstracts will be published in the main conference proceedings and will be included in the conference USB memory stick. They will also be placed in the ACM Digital Library, where they will remain accessible to thousands of researchers and practitioners worldwide. Important Dates * August 7, 5 p.m. PDT: Submission deadline * September 10: Notification to authors * September 20: Camera Ready version due CALL FOR PARTICIPATION: DOCTORAL SYMPOSIUM The ITS Doctoral Symposium is a forum in which Ph.D. students can meet and discuss their work with each other and a panel of experienced Tabletop researchers in an informal and interactive setting. We will give preference to applicants beyond the proposal stage and well into their dissertation research. Each applicant should provide a short written paper (no more than six pages in ACM landscape format). This paper should describe ongoing work and might summarize the student's full dissertation work, or highlight a particular part in depth. In addition, each student is asked to present a poster describing his or her work to the full conference. Doctoral Symposium papers will be published in the ITS conference companion distributed at the conference. Accepted authors will have free registration to the conference. The Doctoral Symposium will take place at the conference venue on Sunday, November 11, 2011 (for accepted authors only!). Submission details * Doctoral Symposium Submission Template * August 7, 5 p.m. PDT: Submission deadline * August 24: Notification to authors * September 20: Camera Ready version due * Submit proposals to: doctoralsymposium(a)its2012conf.org

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VLC 2012: Call for Participation
by J.Burton＠brighton.ac.uk 14 May '12

14 May '12

Apologies if you receive multiple copies of this message. ==================================== VLC 2012 CALL FOR PARTICIPATION 2012 International Workshop on Visual Languages and Computing in conjunction with The 18th International Conference on Distributed Multimedia Systems Eden Roc Renaissance, Miami Beach, USA August 9 - August 11, 2012 (URL: http://www.ksi.edu/seke/dms12.html) Early registration ends June 15, 2012. Theme: Effectiveness of Visual Languages Organized by Knowledge Systems Institute, U.S.A. SCOPE Visual languages mediate human and computer interaction. For some visual languages this mediation is straightforward; using a mouse to access a drop-down menu is well-known to computer users. For others, this mediation can be enriched via sketch and gesture recognition. This is made possible by advances in commodity hardware. More formal visual languages allow experts to accurately specify complex systems, such as software architecture or chemical molecules. A visual language can also encompass complex human-computer interaction such as navigating a set of semantically linked videos. Indeed, precision of semantics underlies visual languages and computation. Aspects of visual computing are multi-faceted in goals that are to be achieved during information or language design. The following represents a short list of qualities that are of importance to the study within visual computing: efficiency, aesthetics, pleasure, emotion, engagement, immersion, collaboration, and culture. Aspects of art, engineering, and science play key roles where certain practitioners focus on design and engineering of visual interactions whereas others analyze and study these interactions (i.e., science). The International Workshop on Visual Languages and Computing will explore these issues, and will be held in conjunction with the 2012 International Conference of Distributed Multimedia Systems (http://www.ksi.edu/seke/dms12.html) GENERAL CHAIR Levent Burak Kara, Carnegie Mellon University, USA PROGRAM CO-CHAIRS A. J. Delaney, University of Brighton, UK; PC co-chair Metin Sezgin, Koc University, Turkey; PC co-chair PUBLICITY CHAIR J. Burton, University of Brighton, UK PROGRAM COMMITTEE Dorothea Blostein, Queen's University, Canada Jeff Browne, UC Santa Barbara, USA Alfonso F. Cardenas, University of California, USA Gennaro Costagliola, University of Salerno, Italy Philip Cox, Dalhousie University, Canada Sergiu Dascalu, University of Nevada, USA Aidan Delaney, University of Brighton, UK Vincenzo Deufemia, University of Salerno, Italy Filomena Ferrucci, University of Salerno, Italy Manuel J. Fonseca, INESC-ID, Portugal Vittorio Fuccella, University of Salerno, Italy Joaquim A Jorge, Instituto Suoerior Tecnico, Portugal Levent Burak Kara, Carnegie Mellon University, USA Robert Laurini, University of Lyon, France Ian Oliver, Nokia, Finland Joseph J. Pfeiffer, New Mexico State University, USA Beryl Plimmer, University of Auckland, New Zealand Tevfik Metin Sezgin, Koc University, Turkey Gem Stapleton, University of Brighton, UK Stefano Valtolina, University of Milan, Italy Giuliana Vitiello, University of Salerno, Italy CONFERENCE LISTED BY DBLP INSPEC Compendex AllConferences.com WikiCFP ==================================== Dr Jim Burton Lecturer in Computing University of Brighton ___________________________________________________________ This email has been scanned by MessageLabs' Email Security System on behalf of the University of Brighton. For more information see http://www.brighton.ac.uk/is/spam/ ___________________________________________________________

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Call for Papers: SIGRAD 2012 - Interactive Visual Analysis of Data
by Prof. Dr. Andreas Kerren 07 May '12

07 May '12

*** apologies for cross-posting *** Call for Papers: SIGRAD 2012 -- Interactive Visual Analysis of Data ------------------------------------------------------------------ Location: Växjö, Sweden Date: November 29-30, 2012 Web site: http://cs.lnu.se/sigrad2012/ *** Paper submission deadline: September 7, 2012 *** SIGRAD, the Swedish Chapter of Eurographics, invites contributions to the conference SIGRAD 2012 with the presentation of high-quality visualization and computer graphics research. Papers accepted for SIGRAD 2012 are published by Linköping University E-Press both in an electronic and printed proceedings. Submissions may be full research papers or short papers which may describe proven and tested solutions, novel ideas, work-in-progress or recent results. More information on how to submit a paper can be found at * http://cs.lnu.se/sigrad2012/ The selected theme of this year's conference is "Interactive Visual Analysis of Data". However, we also invite papers on other aspects of interactive computer graphics and visualization. Thus, topics for submissions include but are not limited to the following areas: * Information Visualization and Scientific Visualization * Visual Analytics, Visual Data Mining and Knowledge Discovery * Large Data Visualization including Streaming Data, Temporal Data, Text and Documents, Networks, ... * Geo-spatial Data in Visualizations * Visualization Taxonomies and Models * Visualization Systems and Software Architectures * Collaborative Visualization * Human-Computer Interaction for Visualization and Computer Graphics * Augmented and Virtual Reality * Solutions and Algorithms for Virtual/Augmented Reality Applications * Real-time Rendering * Procedural Methods and Texture Synthesis * Parallel Graphics Algorithms * Evaluation and User Studies * Training and Education * Teaching Interaction, Computer Graphics and Visualization * Applications Areas of Visualizations, such as Biology, Physical Sciences, Humanities, Social Sciences, Business Analytics, Software Engineering, ... SIGRAD 2012 Co-Chairs --------------------- * Andreas Kerren (Linnaeus University, Sweden) * Stefan Seipel (University of Gävle, Sweden) Important Dates --------------- * Paper submission deadline: September 7, 2012 * Author notification: October 10, 2012 * Camera-ready paper deadline: November 1, 2012 If you have any questions, please contact the conference organizers: sigrad2012(a)easychair.org <mailto:sigrad2012@easychair.org> (This Call for Papers as PDF: http://cs.lnu.se/sigrad2012/SIGRAD12-CFP.pdf)

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(Rev.) IMAGERY IN THE 21st CENTURY, GRAU Ed.,
by Image Science 03 May '12

03 May '12

IMAGERY IN THE 21st CENTURY by Oliver Grau, Editor; with Thomas Veigl The MIT Press, Cambridge, MA, 2011 424 pp. illus. 132 b/w. Trade, $40 ISBN-10: 0262015722. With contributions by Sean CUBITT, Martin SCHULZ, Eduardo KAC, Thomas VEIGL, Stefan HEIDENREICH, Olaf BREIDBACH, Dolores & David STEINMAN, James ELKINS, Wendy CHUNG, Christa SOMMERER & Laurent MIGNONNEAU, Marie Luise ANGERER, Peter WEIBEL, Adrian CHEOK, Tim Otto ROTH, Harald KRÄMER, Lev MANOVICH, Martin WARNKE, Oliver GRAU and Martin KEMP Reviewed by Amy Ione Director, The Diatrope Institute Berkeley, CA 94704 USA ione(a)diatrope.com As I began this review I began to think that the refrain “we are surrounded by images today” has lost its impact (despite my being among the guilty users of it). On the one hand, it seems that many of us notice the imagery. Yet, on the other hand, as we increasingly engage with our visual culture certain norms for our critical investigations are also developing. I’m not sure where this leaves us. To be sure, the nature and complexity of our image-abundant culture is extraordinary. Images are no longer sparse and highly treasured. Rather, we have visual social media, scientific imaging tools, and even static objects like paintings populate the ever-changing screens of our mobile and desktop devices. Even those among us who have resisted some of the broad spectrum of electronic options (think Flickr, Facebook, YouTube, thousands of television channels, digital games, and virtual worlds) cannot escape this new world. Posters and window displays offer smartcodes that invite us to connect with the Internet and learn more about whatever the sign is promoting. Always on, complete with sound, are television screens in airports, restaurants and the array of imaging devices that bring us news, sports, entertainment, whatever. Given the state of the “image” today, critical examination of channels of media and communication are needed. Imagery in the 21st Century, edited by Oliver Grau with Thomas Veigl, presents a number of perspectives on this theme, highlighting the inroads of media into art and science. It is a valuable contribution to the topic. Overall, the book offers systematic and interdisciplinary reflections on expanding and novel forms of images and visualization. Drawing on a number of experts, the twenty chapters highlight new efforts to visualize complex ideas, structures, and systems. In today’s information explosion the question of where what digital images represent and where they fit in the scheme of things becomes quite prismatic. As a whole, the chapters are quite strong; they do not suffer from the unevenness so common in collections of conference papers, which this book is. Of particular value is the breadth of the essays. Researchers from the natural sciences and the humanities explore the wealth of diverse functionality that images have evolved to offer to our lives, that includes lab applications, social commentary, humanistic questions, and experimental art projects. The spectrum of topics include: database economy (Sean Cubitt), telepresent images (Martin Schulz), ethical boundaries (Eduardo Kac), the emergence of a future web-based video aesthetic (Thomas Veigl), brain research (Olaf Breidbach), medical illustration (Dolores and David Steinman), interdisciplinary practices (James Elkins), the role of source code (Wendy Hui Kyong Chun), the interface (Christa Sommerer and Laurent Mignonneau), the museum (Peter Weibel), cellular automata (Tim Otto Roth and Andreas Deutsch ), cultural analytics (Lev Manovich and Jeremy Douglass) and a digital version of the Warburg Image Atlas (Martin Warnke). Even this abbreviated list offers a glimpse into the diversity of efforts to expand visual competence through providing cross-disciplinary exchanges among the arts, humanities, and natural sciences. While this range makes the volume a valuable tool for examining this subject across disciplines, the title, Imagery in the 21st Century, is likely to seem a rash overstatement in a few decades, given that the century has hardly begun. Chapters focusing on applications and innovations offer the most of substantive value, in my view. “Toward New Conventions for Visualizing blood Flow in the Era of Fascination with Visibility and Imagery” by Dolores Steinman and David Steinman falls into this category. Well written and comprehensive, these authors set the stage by pointing out that medical images (drawings, woodcuts, engravings) have always played a key role in educating practitioners and knowledge development. They then follow with case studies that illustrate their efforts to represent blood flow in the context of the living body and conclude with some commentary on medical imagery as art and in popular culture. James Elkins’ chapter, “Visual Practices across the University: A Report,” also stood out. Elkins presents a brief summary of a book called Visual Practices across the University that was published in German in 2007 and is little known outside of the German-speaking world. The essay summarizes an exhibition project that was initiated by sending email to faculty in the sixty-odd departments at University College, Cork asking for exhibition proposals from anyone who uses images in their work. What stood out in his commentary is how differently scientists, humanists and artists think about images and imagery. In this case, he found that while most visual work in the university is done outside of the humanities, most of this work is invisible because the routine image making and image interpretation is not considered as important to the goals as what the images represent and the science that they make possible. Oliver Grau, the editor, is a Professor for Image Science and Dean of the Department for Cultural Studies at Danube University, the author of Virtual Art: From Illusion to Immersion (2003) [1] and the editor of MediaArtHistories. His collaborator, Thomas Veigl, is on the scientific staff of the Department for Image Science at the Danube--University Krems. Their opening chapter, Introduction: Imagery in the 21st Century, sets the stage well and is available at http://mitpress.mit.edu/books/chapters/0262015722chap1.pdf . Grau’s concluding section on “Media Art’s Challenge in Our Societies” offers an overview of image studies today. Parts of the chapter are useful but, because some sections in it are so focused on his professional efforts to meet today’s challenges rather than the challenges overall, the text read like an infomercial at times. Throughout the book it is clear that there are the endless options for image manipulation and that while new media presents us with both interactive opportunities it also raises challenging questions (about human autonomy, entertainment, interaction, etc.). The editors note: “Images increasingly define our world and our everyday life: in advertising, entertainment, politics, and even in science, images are pushing themselves in front of language. The mass media, in particular, engulf our senses on a daily basis. It would appear that images have won the contest with words: Will the image have the last word?” (p. 6) Perhaps images will have the last word. On March 12th of this year (2012) the Encyclopaedia Britannica announced “it will cease publication of the 32-volume printed edition of its flagship encyclopedia, continuing with the digital versions that have become popular with knowledge seekers in recent decades.” The press release also noted that “[The Encyclopedia Britannica] was originally published in Edinburgh, Scotland in 1768 and has been in print continuously ever since [2]. When I grew up, like many of my generation, this book was like browsing the web. I used to love to turn the pages, looking at the images and reading the articles that related to images that caught my fancy. Of course, the Grau book itself raises another side of the question about whether images will have the last word. At this point in time it is not available electronically although sections of the text (without the images!) are on Google Books; moreover Google Books does not offer active links to all the many, many websites the Grau book references. Amazon’s page for the book does not link to a Kindle version. Instead, Amazon has a link asking visitors to tell the publisher to offer a Kindle version. So, will images have the last word? Perhaps. Or perhaps we need to ask: Is it a good thing for images to have the last word? I did not think that the depth of this kind of question was fully addressed in the book since its focus was on the importance of understanding images as vital and dynamic parts of our world today. Thus, my primary concern about this volume, which I recommend overall, is that the reflections and analytical approaches offered did not seem to balance the euphony and cacophony of our experience today. While I’m not exactly sure how this relates to whether images will have the last word, I do know that at times all of the changing images surrounding me feel very cacophonic. As a participant in the movement is to reverse the dominance of textual sources in our approaches to knowledge, as we celebrate our visual abundance, visualization methods, the distribution of images, and how imagery benefits our lives; it seems foreign to have evolved to the point that I think so much about the visual noise. Even in this book I found that some of the projects seemed strikingly cacophonic, and thought that the theoretical assumptions of the authors overall are more biased toward euphonic reactions to our visual culture than the harshness and discordant qualities that are congruent with our visual culture? Perhaps the next step is making sure we address that the cacophonic side is actively included in our critical analyses or imagery. Grau does stress that using an historical lens is an aid in understanding our imagery today. This perspective opens the door for a balanced analysis of the visual and textual and I support him in this effort. Therefore, while the book is only a slice of the imagery picture today, I think readers will gain much from spending time with Imagery in the 21st Century. References: [1] See my Leonardo Review at http://leonardo.info/reviews/feb2003/GRAU_ione.html. [2] “Encyclopaedia Britannica To End Print Edition, Go Completely Digital,” http://www.corporate.eb.com/?p=508. Further Information:: http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=12675 http://www.mediaarthistory.org/pub/Imagery21Century.html

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ACM RecSys 2012 Workshop on Interfaces for Recommender Systems (InterfaceRS'12)
by Rong Hu 30 Apr '12

30 Apr '12

1st CALL FOR PAPERS: ACM RECSYS WORKSHOP ON INTERFACES FOR RECOMMENDER SYSTEMS (InterfaceRS'12) Held in conjunction with RecSys 2012 9th - 13th September, Dublin, Ireland InterfaceRS’12: https://www.abdn.ac.uk/~csc284/InterfaceRS/index.html RecSys'12: http://recsys.acm.org/2012/ Submission deadline: 8 June 2011. ======================================================= As a half-day workshop, InterfaceRS desires to bring together researchers and practitioners around the topics of designing and evaluating novel intelligent interfaces for recommender systems in order to: (1) share research and techniques, including new design technologies and evaluation methodologies (2) identify next key challenges in the area, and (3) identify emerging topics. This workshop aims at creating an interdisciplinary community with a focus on the interface design issues for recommender systems and promoting the collaboration opportunities between researchers and practitioners. As an interactive intelligent system, recommender systems are developed to give recommendations which match users' preferences. Since the emergence of recommender systems, a large majority of research focuses on objective accuracy criteria and less attention has been paid to how users interact with the system and the efficacy of interface designs from users' perspective. Well-designed user interfaces have the capability of enhancing user interaction experience and overall satisfaction. For example, explanation interfaces can increase user confidence in their decision choices and inspire user trust and loyalty to the used system. Nowadays, a variety of novel recommendation technologies have been developed to meet different needs (e.g., group and social recommenders). Recommender systems have also extended to new application platforms (e.g., mobile devices). In addition, heterogeneous information resources have been incorporated into recommender systems (e.g., psychological factors, social media). This brings forward new challenges in designing effective and efficient interfaces for these new recommender applications. Topics of interests include, but are not limited to: – Explanation interfaces – Context-aware interfaces – Social interfaces – Ubiquitous and mobile interfaces – Affective Interfaces – Spoken and natural language interfaces – Collaborative multi-user interfaces – Conversational interfaces – Adaptive interfaces – Argumentation and persuasion interfaces – Example- and demonstration-based interfaces – New approaches to designing interfaces for recommender systems – Case studies – Empirical studies and evaluations of new interfaces – Evaluation methods and metrics (e.g., evaluation questionnaire design) – User studies – Human factors (e.g., privacy, security, trust, confidence, transparency) – Comparative studies across domains – Design guidelines ====================== Submissions ====================== We invite the submission of papers reporting original research, studies, advances, experiences, or work in progress in this area. Three submission types are accepted: • Full technical papers (8 pages), presenting technical, scientific, and/or applicative findings, contribute to the knowledge and understanding of problems of interest, and/or present methodological advancements. • Short technical papers (4 pages), presenting work in progress or of shorter, specific scope. • Short demo papers (4 pages), describing how the novel interface prototype is used to solve practically important problems. A supplemental informal description (1-2 pages) should be attached to the submission, describing what attendees will be able to see or do during your demo (e.g. screenshots), and itemize any equipment or facilities that you will bring for your system demonstration. An accompanying video is optional, but highly encouraged. Any submitted video should be at most three minutes long and 50MB in size. Each paper will be evaluated by at least three reviewers from the Program Committee. The papers will be evaluated for their originality, contribution significance, soundness, clarity, and overall quality. The interest of contributions will be assessed in terms of technical and scientific findings, contribution to the knowledge and understanding of the problem, methodological advancements, and/or applicative value. All submissions shall adhere to the standard ACM SIG proceedings format and be sent as a PDF file via EasyChair (http://www.easychair.org/conferences/?conf=interfacers12) by June 8th, 2012. Note that at least one author of accepted papers needs to register and attend the workshop. ====================== Important Dates ====================== • Paper submission deadline: 8 June 2011. • Author notification: 22 June 2011. • Camera ready version due: 6 July 2011. ====================== Program Committee ====================== Li Chen, Hong Kong Baptist University, China Henrik Eneroth, Antrop, Sweden Alexander Felfernig, Graz University of Technology, Austria Helen Hastie, Heriot-Watt, Scotland, UK Eelco Herder, L3S Research Center, Germany Franca Garzotto, Politecnico di milano, Italy Alejandro (Alex) Jaimes, Yahoo! Research, Spain Joseph Konstan, University of Minnesota, USA Jesse Vig, Palo Alto Research Center, USA Additional members to be announced. ====================== Organizers ====================== Nava Tintarev, University of Aberdeen, Scotland, UK. Rong Hu, EPFL, Switzerland. Pearl Pu, EPFL, Switzerland.

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GeoVA(T) - GeoVisual Analytics: Time to Focus on Time (2012 edition) - extended deadline 10.05.2012
by Gennady Andrienko 30 Apr '12

30 Apr '12

*** apologies for cross-posting *** News: to accommodate several requests, the deadline is extended till Thursday, the 10th of May, 2012 *** no further deadline extension are possible ____________________________________________________________ This is a forwarded message From: Gennady Andrienko <gennady.andrienko(a)iais.fraunhofer.de> To: <geovis(a)iais.fraunhofer.de> Date: Thursday, February 23, 2012, 4:46:55 PM Subject: [geovis] CFP: GeoVA(T) - GeoVisual Analytics: Time to Focus on Time (2012 edition) ===8<==============Original message text=============== Dear colleagues, Please consider submitting your best work to our GIScience workshop GeoVA(T): GeoVisual Analytics: Time to Focus on Time The deadline is Thursday, the 10th of May, 2012 Submission format: PDF, up to 4 pages in IEEE VisWeek format Conference management system: https://cmt.research.microsoft.com/GEOVA2012/ Best regards, Gennady Andrienko, on behalf of the workshop organizers ____________________________________________________________ Fraunhofer Institute IAIS: http://www.iais.fraunhofer.de ICA GeoVisualization Commission: http://geoanalytics.net/ica Andrienko's homepage: http://geoanalytics.net/and publications: http://scholar.google.com/citations?hl=en&user=R370BREAAAAJ ____________________________________________________________ ---------------------- Call for papers ------------------------------- GeoVisual Analytics, Time to Focus on Time Workshop @ GIScience (18 September 2012, Columbus OH, USA) & Special issue of Information Visualization (early 2013) http://geoanalytics.net/GeoVA(t)2012 The workshop is a follow-up of the successful workshops on - Visualization, Analytics and Spatial Decision Support at the GIScience’2006 conference, - Geovisualization of Dynamics, Movement and Change at AGILE'2008, and - GeoSpatial Visual Analytics at GIScience'2008. - GeoSpatial Visual Analytics: Focus on Time at AGILE'2010. Selected papers from the previous workshops, including research agenda papers, were published as special issues of - International Journal of Geographical Information Science, 2007, v.21(8) - Information Visualization, 2008, v.7 (3/4), and - Cartography and Geographic Information Science, 2009, v.36 (3) - International Journal of Geographical Information Science, 2010, v.24(10) Geospatial visual analytics has a tendency to emphasize the spatial components of geographic information. At this workshop we encourage approaches that utilize and emphasize the temporal characteristics of geographic information in rich, novel and useful ways - it's time to focus on time. The theme for the workshop and this special issue of the Information Visualization journal is the use of GeoVisual Analytics approaches for exploring and analysing large data sets with both spatial and temporal components. Original papers are solicited in this area. In particular, we encourage innovative papers detailing tight integration of visualization, data mining, database processing, optimization and other computational processing. The workshop will provide participants with the possibility to present ongoing and developing work without committing to a full journal paper. The journal special issue will provide selected participants with the opportunity of reporting their work in a refereed journal. Papers will be selected for consideration for the spacial issue according to the quality, maturity and likely impact of the work in addition to its fit with the theme. Example topics include, but are not limited to, the visualization and interactive analysis of large data sets representing: - individual and group movement behaviours, either in physical or virtual spaces - dynamics of geo-localised sensor data - spatio-temporal events - visualization and analysis of multi-scale and multi-temporal data - large high-dimensional data sets in space and time - streams of spatio-temporal data as well as - models and semantics of time in geospatial visual analytics - knowledge construction and reasoning about spatial and temporal phenomena and processes - application of innovative visual analytics methods to real-life problems Organizers and Guest Editors: - Gennady and Natalia Andrienko (Fraunhofer Institute IAIS), - Jason Dykes (City University), - Menno-Jan Kraak (ITC), - Heidrun Schumann (University of Rostock) ICA Commission on GeoVisualization: http://geoanalytics.net/ica Supported by: - SPP VA - Scalable Visual Analytics: Interactive Visual Analysis Systems of Complex Information Spaces (DFG Priority Research Program) - MODAP - Mobility, Data Mining, and Privacy (FET-Open Coordination Action) - MOVE - Knowledge Discovery from Moving Objects (COST-Action IC0903) Please send all inquiries to G.Andrienko: Web site: http://geoanalytics.net/GeoVA(t)2012 Conference management system: https://cmt.research.microsoft.com/GEOVA2012/ Submission and selection procedure & deadlines end-October, 2011 preliminary CFP announced February 23, 2012 final CFP announced May 10, 2012 Authors should submit extended abstracts (PDF, up to 4 pages in IEEE TVCG format, see http://www.cs.sfu.ca/~vis/Tasks/camera_tvcg.html for formatting details) via the conference management system.) Abstracts should be up to four pages in length. Illustrations and supplementary online materials are welcome, they should be included to the PDF. Authors should indicate whether they are interested in developing the abstract into a full paper for the special issue June 10, 2012 Guest editors will select abstracts for the presentation at the workshop and notify authors. Short abstracts of accepted presentations will be published online at the workshop web site. September 1, 2012 Full papers for the special issue(s) are submitted September 18, 2012, Columbus, Ohio, USA Authors of accepted abstracts present their work at the workshop for feedback and discussion October 1, 2012 Authors will be notified about acceptance for the special issue November 1, 2012 Deadline for submitting final papers and responding to reviewer’s comments. December 1, 2012 Final notifications early 2013 IVS special issue published ________________________________________________________________________

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PhD studentship - visualising cultural data - academic-industrial partnership
by Stephen Boyd Davis 25 Apr '12

25 Apr '12

PhD studentship - visualising cultural data - academic-industrial partnership A PhD studentship is available at the Royal College of Art in London, funded by the UK Engineering and Physical Sciences Research Council. The funding includes the fees and a living allowance. This is a collaboration with industry, based at System Simulation, a research-led software engineering company in central London with a distinguished record of working with museums and other cultural organisations. The studentship provides a strong base on which to develop an industrial or academic career. The aim of the research is to reveal new knowledge by visualising diverse large datasets in rich interactive timelines and related graphical displays. Our principal aim will be public understanding of historical and other data - making complex patterns visible at a glance - though the visualisation tools will be adaptable to advanced use by researchers, curators, historians, and others. The work presents a wealth of research problems among which the successful applicant is encouraged to identify a distinctive path. The right applicant will have a strong desire to combine in-depth study and practical development. Your experience will include the design and development of interactive software. A software engineer may be the ideal candidate, but others with significant development experience are welcome to apply. You will be enthusiastic, and preferably knowledgeable, about visualisation and visual analytics, and have some understanding of working with large datasets. You will be committed to evaluation as well as making, since it is essential that the products of the research are usable and likeable as well as functioning to a high technical standard. See the documents online for further details… On jobs.ac.uk: http://www.jobs.ac.uk/job/AEG446/epsrc-funded-phd-studentship/ On RCA site: http://www.rca.ac.uk/Default.aspx?ContentID=161457&GroupID=161452 Closing date 17 May 2012. Studentship to begin no later than 30 September 2012 – an earlier start is preferred. To discuss academic / industrial aspects of the studentship, email stephen.boyd-davis(a)rca.ac.uk<mailto:stephen.boyd-davis@rca.ac.uk> To discuss administrative / financial aspects, email suzanne.strong(a)rca.ac.uk<mailto:suzanne.strong@rca.ac.uk> An indication of past work by the academic director of this research can be seen here: http://rca.academia.edu/StephenBoydDavis/Papers The Royal College of Art is a world-renowned postgraduate-only institution. In RAE2008 its research had the highest "world-leading" ranking of all submissions that combined art and design. Stephen .......................................................................................................................... Stephen Boyd Davis | Research Leader, School of Design | Royal College of Art Kensington Gore, London SW7 2EU, United Kingdom Telephone Wanda Polanski (School of Design) 44 (0)20 7590 4352 Personal extension 44 (0)20 7590 4343 www.rca.ac.uk ..........................................................................................................................

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