Search (7 results, page 1 of 1)

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Date

22. 3.2008 14:29:25

LCSH

User interfaces (Computer systems)
Information display systems / Formatting

Subject

User interfaces (Computer systems)
Information display systems / Formatting

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Date

23. 3.2008 19:10:22

Footnote

In 13 chapters, Part Two provides an introduction to KDD, an overview of data mining techniques, and examples of the usefulness of data model visualizations. The importance of visualization throughout the KDD process is stressed in many of the chapters. In particular, the need for measures of visualization effectiveness, benchmarking for identifying best practices, and the use of standardized sample data sets is convincingly presented. Many of the important data mining approaches are discussed in this complementary context. Cluster and outlier detection, classification techniques, and rule discovery algorithms are presented as the basic techniques common to the KDD process. The potential effectiveness of using visualization in the data modeling process are illustrated in chapters focused an using visualization for helping users understand the KDD process, ask questions and form hypotheses about their data, and evaluate the accuracy and veracity of their results. The 11 chapters of Part Three provide an overview of the KDD process and successful approaches to integrating KDD, data mining, and visualization in complementary domains. Rhodes (Chapter 21) begins this section with an excellent overview of the relation between the KDD process and data mining techniques. He states that the "primary goals of data mining are to describe the existing data and to predict the behavior or characteristics of future data of the same type" (p. 281). These goals are met by data mining tasks such as classification, regression, clustering, summarization, dependency modeling, and change or deviation detection. Subsequent chapters demonstrate how visualization can aid users in the interactive process of knowledge discovery by graphically representing the results from these iterative tasks. Finally, examples of the usefulness of integrating visualization and data mining tools in the domain of business, imagery and text mining, and massive data sets are provided. This text concludes with a thorough and useful 17-page index and lengthy yet integrating 17-page summary of the academic and industrial backgrounds of the contributing authors. A 16-page set of color inserts provide a better representation of the visualizations discussed, and a URL provided suggests that readers may view all the book's figures in color on-line, although as of this submission date it only provides access to a summary of the book and its contents. The overall contribution of this work is its focus an bridging two distinct areas of research, making it a valuable addition to the Morgan Kaufmann Series in Database Management Systems. The editors of this text have met their main goal of providing the first textbook integrating knowledge discovery, data mining, and visualization. Although it contributes greatly to our under- standing of the development and current state of the field, a major weakness of this text is that there is no concluding chapter to discuss the contributions of the sum of these contributed papers or give direction to possible future areas of research. "Integration of expertise between two different disciplines is a difficult process of communication and reeducation. Integrating data mining and visualization is particularly complex because each of these fields in itself must draw an a wide range of research experience" (p. 300). Although this work contributes to the crossdisciplinary communication needed to advance visualization in KDD, a more formal call for an interdisciplinary research agenda in a concluding chapter would have provided a more satisfying conclusion to a very good introductory text.

LCSH

Knowledge acquisition (Expert systems)

Series

Morgan Kaufmann series in data management systems

Subject

Knowledge acquisition (Expert systems)

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LCSH

Information display systems / Congresses

Subject

Information display systems / Congresses

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Date

30. 1.2007 18:22:41

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Date

22. 3.2008 14:35:21

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LCSH

User interfaces (Computer systems)

Subject

User interfaces (Computer systems)

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Footnote

Moving an to virtual images, Burnett posits the existence of "microcultures": places where people take control of the means of creation and production in order to makes sense of their social and cultural experiences. Driven by the need for community, such microcultures generate specific images as part of a cultural movement (Burnett in fact argues that microcultures make it possible for a "small cinema of twenty-five seats to become part of a cultural movement" [p. 63]), where the process of visualization-which involves an awareness of the historical moment - is central to the info-world and imagescapes presented. The computer becomms an archive, a history. The challenge is not only of preserving information, but also of extracting information. Visualization increasingly involves this process of picking a "vantage point" in order to selectively assimilate the information. In virtual reality systems, and in the digital age in general, the distance between what is being pictured and what is experienced is overcome. Images used to be treated as opaque or transparent films among experience, perception, and thought. But, now, images are taken to another level, where the viewer is immersed in the image-experience. Burnett argues-though this is hardly a fresh insight-that "interactivity is only possible when images are the raw material used by participants to change if not transform the purpose of their viewing experience" (p. 90). He suggests that a work of art, "does not start its life as an image ... it gains the status of image when it is placed into a context of viewing and visualization" (p. 90). With simulations and cyberspace the viewing experience has been changed utterly. Burnett defines simulation as "mapping different realities into images that have an environmental, cultural, and social form" (p. 95). However, the emphasis in Burnett is significant-he suggests that interactivity is not achieved through effects, but as a result of experiences attached to stories. Narrative is not merely the effect of technology-it is as much about awareness as it is about Fantasy. Heightened awareness, which is popular culture's aim at all times, and now available through head-mounted displays (HMD), also involves human emotions and the subtleties of human intuition.
Burnett's work is a useful basic primer an the new media. One of the chief attractions here is his clear language, devoid of the jargon of either computer sciences or advanced critical theory. This makes How Images Think an accessible introduction to digital cultures. Burnett explores the impact of the new technologies an not just image-making but an image-effects, and the ways in which images constitute our ecologies of identity, communication, and subject-hood. While some of the sections seem a little too basic (especially where he speaks about the ways in which we constitute an object as an object of art, see above), especially in the wake of reception theory, it still remains a starting point for those interested in cultural studies of the new media. The Gase Burnett makes out for the transformation of the ways in which we look at images has been strengthened by his attention to the history of this transformation-from photography through television and cinema and now to immersive virtual reality systems. Joseph Koemer (2004) has pointed out that the iconoclasm of early modern Europe actually demonstrates how idolatory was integral to the image-breakers' core belief. As Koerner puts it, "images never go away ... they persist and function by being perpetually destroyed" (p. 12). Burnett, likewise, argues that images in new media are reformed to suit new contexts of meaning-production-even when they appear to be destroyed. Images are recast, and the degree of their realism (or fantasy) heightened or diminished-but they do not "go away." Images do think, but-if I can parse Burnett's entire work-they think with, through, and in human intelligence, emotions, and intuitions. Images are uncanny-they are both us and not-us, ours and not-ours. There is, surprisingly, one factual error. Burnett claims that Myron Kreuger pioneered the term "virtual reality." To the best of my knowledge, it was Jaron Lanier who did so (see Featherstone & Burrows, 1998 [1995], p. 5)."