Search (6 results, page 1 of 1)

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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.
With contributors almost exclusively from the computer science field, the intended audience of this work is heavily slanted towards a computer science perspective. However, it is highly readable and provides introductory material that would be useful to information scientists from a variety of domains. Yet, much interesting work in information visualization from other fields could have been included giving the work more of an interdisciplinary perspective to complement their goals of integrating work in this area. Unfortunately, many of the application chapters are these, shallow, and lack complementary illustrations of visualization techniques or user interfaces used. However, they do provide insight into the many applications being developed in this rapidly expanding field. The authors have successfully put together a highly useful reference text for the data mining and information visualization communities. Those interested in a good introduction and overview of complementary research areas in these fields will be satisfied with this collection of papers. The focus upon integrating data visualization with data mining complements texts in each of these fields, such as Advances in Knowledge Discovery and Data Mining (Fayyad et al., MIT Press) and Readings in Information Visualization: Using Vision to Think (Card et. al., Morgan Kauffman). This unique work is a good starting point for future interaction between researchers in the fields of data visualization and data mining and makes a good accompaniment for a course focused an integrating these areas or to the main reference texts in these fields."

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Date

22. 1.2017 16:54:03
22. 1.2017 17:10:56

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Footnote

Rez. in: JASIST 56(2005) no.10, S.1126-1128 (P.K. Nayar): "How Images Think is an exercise both in philosophical meditation and critical theorizing about media, images, affects, and cognition. Burnett combines the insights of neuroscience with theories of cognition and the computer sciences. He argues that contemporary metaphors - biological or mechanical - about either cognition, images, or computer intelligence severely limit our understanding of the image. He suggests in his introduction that "image" refers to the "complex set of interactions that constitute everyday life in image-worlds" (p. xviii). For Burnett the fact that increasing amounts of intelligence are being programmed into technologies and devices that use images as their main form of interaction and communication-computers, for instance-suggests that images are interfaces, structuring interaction, people, and the environment they share. New technologies are not simply extensions of human abilities and needs-they literally enlarge cultural and social preconceptions of the relationship between body and mind. The flow of information today is part of a continuum, with exceptional events standing as punctuation marks. This flow connects a variety of sources, some of which are continuous - available 24 hours - or "live" and radically alters issues of memory and history. Television and the Internet, notes Burnett, are not simply a simulated world-they are the world, and the distinctions between "natural" and "non-natural" have disappeared. Increasingly, we immerse ourselves in the image, as if we are there. We rarely become conscious of the fact that we are watching images of events-for all perceptioe, cognitive, and interpretive purposes, the image is the event for us. The proximity and distance of viewer from/with the viewed has altered so significantly that the screen is us. However, this is not to suggest that we are simply passive consumers of images. As Burnett points out, painstakingly, issues of creativity are involved in the process of visualization-viewwes generate what they see in the images. This involves the historical moment of viewing-such as viewing images of the WTC bombings-and the act of re-imagining. As Burnett puts it, "the questions about what is pictured and what is real have to do with vantage points [of the viewer] and not necessarily what is in the image" (p. 26). In his second chapter Burnett moves an to a discussion of "imagescapes." Analyzing the analogue-digital programming of images, Burnett uses the concept of "reverie" to describe the viewing experience. The reverie is a "giving in" to the viewing experience, a "state" in which conscious ("I am sitting down an this sofa to watch TV") and unconscious (pleasure, pain, anxiety) processes interact. Meaning emerges in the not-always easy or "clean" process of hybridization. This "enhances" the thinking process beyond the boundaries of either image or subject. Hybridization is the space of intelligence, exchange, and communication.
The sixth chapter looks at this interfacing of humans and machines and begins with a series of questions. The crucial one, to my mind, is this: "Does the distinction between humans and technology contribute to a lack of understanding of the continuous interrelationship and interdependence that exists between humans and all of their creations?" (p. 125) Burnett suggests that to use biological or mechanical views of the computer/mind (the computer as an input/output device) Limits our understanding of the ways in which we interact with machines. He thus points to the role of language, the conversations (including the one we held with machines when we were children) that seem to suggest a wholly different kind of relationship. Peer-to-peer communication (P2P), which is arguably the most widely used exchange mode of images today, is the subject of chapter seven. The issue here is whether P2P affects community building or community destruction. Burnett argues that the trope of community can be used to explore the flow of historical events that make up a continuum-from 17th-century letter writing to e-mail. In the new media-and Burnett uses the example of popular music which can be sampled, and reedited to create new compositions - the interpretive space is more flexible. Private networks can be set up, and the process of information retrieval (about which Burnett has already expended considerable space in the early chapters) involves a lot more of visualization. P2P networks, as Burnett points out, are about information management. They are about the harmony between machines and humans, and constitute a new ecology of communications. Turning to computer games, Burnett looks at the processes of interaction, experience, and reconstruction in simulated artificial life worlds, animations, and video images. For Burnett (like Andrew Darley, 2000 and Richard Doyle, 2003) the interactivity of the new media games suggests a greater degree of engagement with imageworlds. Today many facets of looking, listening, and gazing can be turned into aesthetic forms with the new media. Digital technology literally reanimates the world, as Burnett demonstrates in bis concluding chapter. Burnett concludes that images no longer simply represent the world-they shape our very interaction with it; they become the foundation for our understanding the spaces, places, and historical moments that we inhabit. Burnett concludes his book with the suggestion that intelligence is now a distributed phenomenon (here closely paralleling Katherine Hayles' argument that subjectivity is dispersed through the cybernetic circuit, 1999). There is no one center of information or knowledge. Intersections of human creativity, work, and connectivity "spread" (Burnett's term) "intelligence through the use of mediated devices and images, as well as sounds" (p. 221).
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)."

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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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Date

22. 3.2008 14:29:25