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Pervasive computing proposes a new paradigm for human-computer interaction. By embedding computation, sensing, and networking into our daily environments, new computing systems can be developed that become helpful, supportive, and invisible elements of our lives. This tight proximity between the human and computational worlds poses challenges for the design of these systems - what disciplines should be involved in their design and what tools and processes should they follow? We address these issues by advocating for interdisciplinary design of pervasive computing systems. Based upon our experiences teaching courses in interactive architecture, product design, physical computing and through surveys of existing literature, we examine the challenges faced by interdisciplinary teams when developing pervasive computing systems. We find that teams lack accessible prototyping tools to express their design ideas across domains. To address this issue we propose a new software-based design tool called electronic storyboards. We implement electronic storyboards by developing a domain-specific modeling language in the Eclipse Graphical Editor Framework. The key insight of electronic storyboards is to balance the tension between the ambiguity in drawn storyboards and the requirements of implementing computing systems. We implement a set of user-applied tags, perform layout analysis on the storyboard, and utilize natural language processing to extract behavioral information from the storyboard in the form of a timed automaton. This behavioral information is then transformed into design artifacts such as state charts, textual descriptions, and source code. To evaluate the potential impact of electronic storyboards on interdisciplinary design teams we develop of user study based around ``boundary objects''. These objects are frequently used within computer-supported collaborative work to examine how objects mediate interactions between individuals. Teams of computing and non-computing participants were asked to storyboard pervasive computing systems and their storyboards were evaluated using a prototype electronic storyboarding tool. The study examines how teams use traditional storyboarding, tagging, tool queries, and generated artifacts to express design ideas and iterate upon their designs. From this study we develop new recommendations for future tools in architecture and fashion design based upon electronic storyboarding principles. Overall, this study contributes to the expanding knowledge base of pervasive computing design tools. As an emerging discipline, standardized tools and platforms have yet to be developed. Electronic storyboards offer a solution to describe pervasive computing systems across application domains and in a manner accessible to multiple disciplines. / Ph. D.

IT-system spelar en stor roll inom många verksamheter idag.Utvecklingsprojekt kan vara ett kostsamt risktagande då stora summorpengar ofta är inblandade. Många IT-projekt tenderar att ”misslyckas” vilketofta bottnar i uppfattningen och säkerställningen av kraven och önskemålen.Likaså finns det en problematik med att få alla intressenterna i ett IT-projektatt förstå systemets koncept. Detta berör även systemutvecklarna varsuppgift är att realisera de krav och önskemål som identifierats.Storyboarding är en teknik som genom illustrationer kommunicerarinformation till betraktaren. I denna kontext tillämpas storyboards med sinaillustrationer och grafiska hjälpmedel som ett sätt att förmedla en idé, ettkoncept och krav. Tekniken erbjuder ett annorlunda sätt att kommuniceramed ett IT-projekts intressenter, men är detta en tillräcklig återgivning för attsystemutvecklare skall kunna realisera ett IT-system? Vår undersökningvisar att storyboarding är en bra teknik för att kommunicera krav på men attden inte är tillräcklig för en systemutvecklare. Detaljer och nödvändigfunktionalitet kan inte garanteras i tekniken utan måste kompletteras för atten systemutvecklare skall kunna genomföra en realisering av systemet.Undersökningen tyder på att man behöver utveckla tekniken för att ensystemutvecklare skall kunna använda den. Syftet med vår undersökning harvarit att öka förståelsen för storyboards som ett sätt att kommunicera ochförmedla krav på. Resultatet av vår undersökning presenteras med förslag påmöjliga förbättringar av tekniken. Vi tar även upp en viss del avproblematiken kring tolkning av bilderna i storyboards. / Uppsatsnivå: C

A case study of collaborative storyboarding in an animation studio grounded this investigation of visual discourse---discourse about and with visual displays. The focus was on a problem occurring during a 40-minute task between the head storyboard artist and his junior colleague in reviewing a rough, conceptual storyboard. The research investigated the role of different semiotic modalities produced by the artists', i.e., speech, gesture, and drawing, in mediating spatial (frames of reference) and motion (action and path) representations and inferences from the storyboard. One aim was to determine if particular modalities were used to represent particular spatial and motion ideas. / Both qualitative discourse and quantitative analyses were undertaken to associate the individual discourse modality in co-occurring external representations (speech, gesture, or drawing), with spatial and motion ideas required to understand the storyboard. The results showed that (a) most modalities did not consistently or uniquely represent specific types of spatial and motion ideas, (b) representations frequently demonstrated a mismatching between spoken and gestured or drawn ideas, (c) spatial representation in particular required the artists to represent specific goal domains as contexts that determined the frame of reference and local sense of the representation, and (d) a more complex drawing style was used at the beginning of the problem than in the latter solution stages. / These findings are discussed in terms of the artists' (a) flexibility needed to traverse between 2-D and 3-D imagined worlds requiring the representation of different spatial coordinate systems, (b) handling of the modalities in visual discourse as supporting this flexibility, and (c) strategic use of drawing styles to assist inferring 3-D dynamic action from an incomplete, 2-D, static storyboard. The study demonstrates the importance of considering activity goals and interacting semiotic modalities as contributing to the knowledge needed to represent and infer space and motion. These findings are significant to research on the knowledge and tools used to infer space and motion from static visual displays in authentic collaborative design activities, and have implication for research on technologies and environments supporting collaborative visual thinking in design settings.

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In this thesis I focus on the artistry and essential work, behind the scenes that storyboard artists have contributed to, since the early days of film history. The works I will focus on are the important phases of pre-planning of feature films and animated films. I theorize on the aspect of what makes a good story and how it is brought to life on the screen, as well as how the story is actually conveyed with this drawings. The hypothesis maintains the importance of storyboards, as well as defining their main purpose. Using a formalistic point of view and historical argumentation, I examine and compare five different directors´ use of storyboards and how their respective collaborative teams (i.e director of photography, production designer and story artists, editors etc) create each film´s particular nuances and cinematic expressions. The source materials used are works by Bill Krohn, Giuseppe Cristiano, Steven D. Katz and Robert Kapsis, amongst others. The films/DVDs for my research have consisted of numerous behind-the-scenes materials and storyboards that have been featured with these filmic references. My conclusion is that the subsequent cinematic expression in each work is already apparent in the early process. This is revealed sometimes in the sketchbook of the director, but most often in the important collaborative work of the whole production team. In this we discover aspects as to what makes an elaborate, filmic masterpiece, facts most often unknown to a normal cinema audience.

A great deal has been written in the management literature concerning the field of knowledge management. Some of that literature has focused on the use of stories and storytelling, including for the sharing of knowledge. However, the field of knowledge management is relatively immature in South Africa. In particular within that field, there is not a clear understanding of the use of stories and storytelling for knowledge sharing within the country. The purpose of the study was to improve that understanding through research into a case study within the South African mining industry, with a focus on world-class performance. To assist in the performance evaluation of the case study organisation, a framework for world-class performance was developed and used as an analytical tool in conjunction with a research instrument that was based on the findings of the non-empirical research into the fields of knowledge management and stories and storytelling. The empirical research then focused on the activities of a particular community of practice within the case study organisation and sought to understand the way in which stories and storytelling were used to support the sharing of knowledge in the organisation, as a contributor to world-class performance. Whilst conducting the empirical research, assessment and analysis, it was identified that the case study organisation made use of a number of practices and tools to support the use of stories and storytelling, in particular graphical representations (storyboards) of the stories to complement their oral delivery. The analysis of the case study data indicated that a significant opportunity existed to improve the extent of world-class performance for the use of stories and storytelling and a number of recommendations were made in that regard. / Thesis (DPhil)--University of Pretoria, 2007. / Information Science / unrestricted