=Paper=
{{Paper
|id=Vol-1632/paper_3
|storemode=property
|title=Reframing Cultural Heritage Collections in a Visualization Framework of Space-Time Cubes
|pdfUrl=https://ceur-ws.org/Vol-1632/paper_3.pdf
|volume=Vol-1632
|authors=Florian Windhager,Eva Mayr,Günther Schreder,Michael Smuc,Paolo Federico,Silvia Miksch
|dblpUrl=https://dblp.org/rec/conf/dihu/WindhagerMSS0M16
}}
==Reframing Cultural Heritage Collections in a Visualization Framework of Space-Time Cubes==
https://ceur-ws.org/Vol-1632/paper_3.pdf
Reframing Cultural Heritage Collections in a
Visualization Framework of Space-Time Cubes
Florian Windhager1*, Eva Mayr1, Günther Schreder1, Michael Smuc1,
Paolo Federico2 and Silvia Miksch2
1
Danube University Krems, Krems, Austria
florian.windhager@donau-uni.ac.at, eva.mayr@donau-uni.ac.at,
guenther.schreder@donau-uni.ac.at, michael.smuc@donau-uni.ac.at,
2
University of Technology Vienna, Vienna, Austria
federico@ifs.tuwien.ac.at, miksch@ifs.tuwien.ac.at
Abstract
During the last decades, digitization broadened access to cultural heritage collections
for public audiences. Large online databases have been prepared for open access with
simple search interfaces or visual exploration methods. In this position paper we discuss
new challenges arising from these initiatives with regard to casual users. To meet their
specific needs, we introduce a novel method for synoptic collection visualization which
makes use of parallel space-time cubes to provide multiple spatiotemporal overviews,
support free exploration, and to specifically engage casual audiences.
1 Introduction
To facilitate sustainable access to our cultural achievements, cultural heritage collections provide
windows into the past and store data on their objects in multiple dimensions. Curiously enough, it is
the successful development of big cultural heritage databases like europeana.eu, which generates new
challenges of (in)accessibility: Existing user interfaces require prior knowledge about what is to be
found [3] and thus introduce a potential barrier for non-professional visitors or casual users, who just
want to explore the collection, as we will discuss in chapter 2. Chapter 3 and 4 discuss how
Information Visualization (InfoVis) interfaces can provide the means to address these issues - and
how some of their limitations could be overcome by a novel interface design, making use of multiple
space-time cube representations. As an outlook we discuss possible implementation scenarios in
chapter 5.
*
Corresponding author
M. Düring, A. Jatowt, J. Preiser-Kapeller, A. van den Bosch (eds.): Proceedings of the 3rd HistoInformatics Workshop,
Krakow, Poland, 11 July 2016, published at http://ceur-ws.org
2 Cultural Heritage and Casual Audiences
Cultural heritage databases aggregate massive amounts of digitized artefacts and associated metadata
and allow for queries according to the users’ prior knowledge on various metadata dimensions. Yet,
just as in museums, visitors often come without prior knowledge. Without a clear goal, they want to
interact with a digital collection in an exploratory way [10], browsing through the cultural
information, rather than searching for specific details [12]. Also in InfoVis, the needs of casual users
in everyday leisure settings have been reconsidered [7]. Their intrinsic factors are to learn something
and gain a deeper understanding, but also to simply get entertained [9]. From the outlined research we
can derive design recommendations for collection visualizations:
Visitors to digital cultural heritage collections need an orientation phase before they start
browsing or searching [10]. Also in information seeking a sense of overview and
orientation is regarded important [3:1218]. Design recommendation 1 [DR1]: InfoVis
interfaces should provide effective overviews and conceptual orientation of a collections
extension, its major components and arrangement.
Museum research shows that only limited cognitive resources are available for learning
and exploration [2]. Design recommendation 2 [DR2]: InfoVis interfaces should offer a
maximum of overview, while keeping the cognitive load, required for cognitive
information integration and orientation low [3].
With exploration being the central activity in such settings [10,12], casual users often
explore InfoVis interfaces without a clear goal in mind. Design recommendation 3
[DR3]: New interfaces should support exploratory behavior, e.g. by offering multiple
perspectives and a rich set of interaction methods to explore object collections on
overview and detail levels.
We consider these specific needs of casual audiences to play a crucial role when it comes to the future
acceptance and factual use of public interfaces to digital object collections.
3 Visual Interfaces to Cultural Heritage Collections
While physical object collections are commonly explored in a close-up perspective (Figure 1, left)
traditional means for overviews are floor plans, as well as lists, slideshows or grids in case of virtual
collections. Several InfoVis methods have been proposed to widen the options for visual exhibition
exploration. We distinguish between the visual encoding of spatial (i.e. cross-sectional, non-temporal)
data aspects, and of temporal (i.e. longitudinal) data aspects (see figure 1, right), with “spatial” not
only referring to geographic metadata, but also to their distributions in algebraic or vector spaces.
Visual Encoding of Spatial Data Dimensions: As place of origin counts among the most frequently
documented data dimensions of cultural artifacts, geographic maps often serve as a standard
visualization method to show the spatial distribution of artifacts’ origins. Given different thematic or
stylistic classifications of cultural artifacts, set diagrams or treemaps offer insights into categorically
or hierarchically structured data constellations. As for relational data (e.g. influences, references,
inter-artifact relations) network diagrams or graphs enable users to explore the proximities and
distances of artifacts or cultural actors in relational or topological spaces.
Visual Encoding of Temporal Data Dimensions: Especially in cultural heritage contexts, interfaces
have to encode temporal information too. One prominent option to do so are linked timelines, usually
implemented as a coordinated temporal view in addition to a spatial representation. Other prominent
options are animation and superimposition with the former merging multiple temporal snapshots
Figure 1: Overview on different methods to visualize cultural heritage collections.
(often distinguished by different colors), and the latter mapping time to time. Another hybrid
technique is the space-time cube (STC), mapping time to an additional spatial dimension.
As most of these methods have already been implemented in the cultural heritage data domain, we
focus on the specific needs of casual users: Which visualizations provide effective overviews while
keeping cognitive load low? Which methods provide conceptual orientation as an entry point and
support multiple ways of exploration, but also navigating between alternating views? With regard to
these questions, we will make the case for a more thorough consideration of space-time cube (STC)
representations (cf. figure 2), which have been shown in user studies to have unique strengths in
displaying multidimensional data [6], yet have not been implemented and evaluated in the cultural
heritage domain until now.
4 A Visualization Framework of Multiple Space-Time Cubes
A visualization framework based on STC representations could support casual users’ exploration of
digital object collections in various ways, which we will discuss in relation to the design
recommendations in chapter 2.
First, the STC supports perceptual integration of multiple data dimensions: As a generic
spatiotemporal visualization method, the STC can display various spatial layouts on its data plane –
including maps, sets, and network graphs – and consistently map temporal information to its z-axis.
This genuine spatiotemporal layout principle provides “naturally” integrated views of three data
dimensions for synchronous perception, which conjoin into characteristically shaped point clouds,
clusters, flows, trees, or any other combination thereof (cf. figure 2). Experimental studies show that
the STC supports the identification of clusters or overall spatiotemporal patterns fast and efficiently
[5], especially in larger data sets [11]. Deduction: This integrative character of the STC matches the
requirement for effective multidimensional overviews and conceptual orientation [DR1], while
keeping cognitive load low [DR2]. Multiple interaction options for STCs further support open
exploration [DR 3].
FFigure 2: Coordinated multiple space-time cubes, with a geo-temporal (left), a categorial-temporal (center), and a
genealogical (right) layout, displaying the same data collection, subselection, and single artifact.
But the STC also allows higher dimensional integration: More than three data dimensions could
be perceptually integrated by either using other visual encodings (like color, size, shape, etc.) within a
STC, or by the InfoVis technique of coordinated multiple views, which also can be implemented as
coordinated, multiple space-time cubes (figure 2). The data planes of such parallel STCs can cover
different data dimensions and layouts while sharing the same selection of time. Further interactive
integration thus is available through the method of coordinated highlighting of selected data elements
or linking and brushing [4]. Deduction: The implementation of coordinated multiple STCs extends the
method’s potential to provide synoptic overviews [DR 1] and allow users to synchronously explore
multiple dimensions in parallel [DR 3].
The STC can also enhance navigation: Bach et al. [1] showed how STC representations can
provide a navigational device to better understand various temporal encoding methods: The STC
integrates multiple well-established 2D perspectives while demonstrating their operating principles by
seamless canvas transitions [8]. Deduction: As an advanced navigator, STCs can support the
exploration of a collection’s temporal aspects with multiple methods [DR3], while simultaneously
showing how different methods of temporal encoding translate into each other, thus reducing the
cognitive load for required operations of perspective and information integration [DR2].
Based on these results we conclude that a visualization framework based on (multiple) STCs
meets a substantive amount of design requirements for casual users. With regard to expected
additional cognition and navigation support in connection with regular 2D views we consider its
further evaluation in the cultural heritage data domain to be a productive research endeavor.
5 Discussion and Outlook
In this article we introduced an InfoVis approach to answer new challenges arising from the
paradoxical (in)accessibility of cultural heritage databases for casual audiences. We found strong
evidence that a multi-method interfaces based on the STC has the potential to meet essential design
requirements delineated for casual audiences: They provide a synoptic overview on multidimensional
collection data and enable users to generously explore collections from various spatiotemporal
vantage points, while offloading data integration to 3D perception and keeping cognitive load low.
As a conceptual draft, this framework will be able to demonstrate its efficiency only in a series of
user studies to come. Since implementations in the cultural heritage contexts have been missing until
now, we expect a combination of comparative prototype evaluations to bring along new insights,
about how different encoding methods (cf. figure 1) will perform with casual audiences. Possible
implementation scenarios range from local implementations for visual collection exploration to
extended knowledge communication initiatives in collaboration with various historically oriented
disciplines, including Art History, Classical Philology, History of Science, History of Technology,
Literary and Media Studies, etc. We further expect contributions to pedagogic and didactic methods
development within these fields, i.e. on methods which support the multimodal teaching, presentation
and collective exploration of historically oriented topics.
Acknowledgments
This research has been supported by the Austrian Science Fund (FWF), Project No. P28363 and
the Austrian Research Promotion Agency (FFG), Project No. 835937.
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