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  • MALE SPEAKER: I would like to introduce Veronica Liesaputra,

  • who is from the University of Waikato.

  • She is Ian Witten's student there.

  • She is working under a Google scholarship to study ebook

  • user interfaces, and she's going to present some work

  • that she just presented at the joint

  • conference on digital libraries.

  • Veronica?

  • VERONICA LIESAPUTRA: First of all, I want to say thank you

  • for giving me the opportunity to talk about my PhD project,

  • which focuses on simulating electronic documents using the

  • book metaphor.

  • For today's talk, I'm going to explain about how to turn the

  • pages of an electronic book.

  • The outline of my talk will be first, I'm going to explain

  • about the book metaphor, the evolution of the book, users

  • reading behavior, and techniques

  • to model page turning.

  • Then I will show you my book part of example that uses one

  • of these page turning mechanisms, and I will

  • summarize my talk.

  • So it will be a very short talk.

  • There are actually lots of debates on the

  • use of the book metaphor.

  • Some people believe that it is useful using the book

  • metaphor, because people are already familiar and have

  • experience with it.

  • But others believe that it's actually useless using the

  • book metaphor.

  • It actually limits the potential of

  • an electronic book.

  • It may even lead to awkward design.

  • They believe it actually doesn't matter how the new

  • representation looks like.

  • Once users are familiar with it, they will no longer rely

  • on the book metaphor.

  • And so they're saying, don't judge a book by its cover,

  • judge it by its content.

  • And those experts believe that only the text is important.

  • The physical properties of the document don't matter at all.

  • However this is not how humans are trained.

  • Our human brains are already trained unconsciously to use

  • the physical properties of the documents to tell us about the

  • document's age, usage and quality.

  • Using the right text format is important, because it

  • essentially tells how the knowledge is organized and

  • presented, which in turn affects how you serve reading

  • comprehensions and reading experience.

  • Through the 4,000 years of its history, the document format

  • has gone through a series of changes.

  • The main motivation for this change is to find a format

  • that is economical, portable and user friendly.

  • Surprisingly, we can also find the same evolution in the

  • development of the electronic document formats.

  • So the three main document formats are scrolls,

  • concertinas and the codices.

  • In the scroll format, a document is represented in a

  • long file, pages.

  • And the user needs to use--

  • so if it's electronic, then you have web pages.

  • The users have to use the scroll bars to basically roll

  • and unroll documents to search for a passage.

  • Another example of the scroll format is the

  • teletype roll paper.

  • The second format is the concertinas.

  • This is the intermediate format

  • between scrolls and codices.

  • It was preferred over scrolls, because when it is folded, it

  • resembles a book.

  • You can randomly access any page.

  • An unfolded concertina is essentially a scroll,

  • providing a backward compatibility.

  • An example of this format are the [UNINTELLIGIBLE] printing

  • papers at every Acrobat Readers and Microsoft Word

  • print preview, where users can either use the scroll bars or

  • the page up and down buttons to go to the next page.

  • A user study shows that for their short documents, users

  • prefer scrolls over the concertina format, because

  • they are already used to using scrolls longer than

  • concertinas.

  • However, for long documents, users actually do not prefer

  • to use scrolls, because they can easily get lost in the

  • flow of information.

  • Just moving the scroll bar slightly can change the screen

  • content completely.

  • That's why they always use page up and down buttons.

  • Where the concertina, although it helps the user gain better

  • understanding of the document's logical structures,

  • they still find it hard to know where they are on the

  • document and the length of the document itself.

  • So that brings me to the last document format, which is the

  • codex format.

  • This is the standard document format.

  • It was preferred over the concertinas, because it uses

  • less material, which means that it's cheaper, it's easier

  • to read and store, and it's portable.

  • And recently, many researchers tried to simulate electronic

  • document using the book metaphor.

  • They found that the user gained a better understanding

  • about the document's logical structures, and also the user

  • already understood the book metaphor, so they knew exactly

  • what to do, without saying, you need to turn the page or

  • something like that.

  • Adding functionality such as annotation, highlighting can

  • increase readers' engagements and fulfillment.

  • So I guess everyone has already seen this video.

  • So I'm just going to skip it.

  • Yes, or do you want to watch it?

  • OK, sure.

  • [VIDEO PLAYBACK]

  • [END VIDEO PLAYBACK]

  • VERONICA LIESAPUTRA: As you can see, the page turning is

  • the important application in a book.

  • A user study done by Katherine Marshall actually shows that

  • page turning is actually a combination of a complex

  • [UNINTELLIGIBLE]

  • applications, as I will show you in this series of

  • photographs.

  • Here we have a girl reading her favorite magazine.

  • And as you can see, she's already anticipating herself

  • to turn the page, while she's still reading the first page.

  • And then she partially turned the page.

  • And she said that it's because she wanted to look ahead, the

  • content of the next two pages.

  • She wanted to get more context of what's

  • happening with the articles.

  • Once she fully turned the page, she made the magazine

  • into a double page display.

  • Again she said that she wanted to get an overview of how long

  • it is the article going to go for and about the context that

  • she's going to read.

  • And when she's satisfied with that, she folds the magazine

  • into a one page spread, and then focuses herself reading

  • on the left page.

  • So while reading, users are always anticipating themselves

  • to turn the page.

  • The same behavior also can be seen when they're reading an

  • electronic document or using an electronic book reader.

  • They always place their mouse or their scroll bars near the

  • navigational buttons or the scrollers.

  • Although clicking a navigational button is

  • effective, users actually briefly lose contact with the

  • text, which means that they cannot subtly look ahead at

  • the content of what is the next page while they're still

  • reading the first page.

  • They always just have to go to the next page.

  • There's no middle bit.

  • This is why simulating a realistic

  • page turning is important.

  • When we want to simulate a realistic page turning, we

  • always have a trade-off between the

  • accuracy and the speed.

  • If you want our page turning to look as realistic as

  • possible, then it will be complex to compute, which

  • means that it slow to render.

  • There are two types of simulation.

  • Geometric simulations and physical simulations.

  • In the geometric simulation, the appearance of the page is

  • defined by a set of mathematical equations, which

  • means that it is simple and fast to compute, but it may

  • not be accurate and it's also restrictive.

  • The second simulation is the physical stimulation.

  • In this simulation, the appearance of the paper is

  • defined by the material properties of the paper and

  • the forces that we apply to the paper, which means that

  • the simulation is accurate and flexible, but it is complex

  • and slow to compute.

  • When we want to create realistic page turning, we

  • want to find a model that not only looks sufficiently

  • realistic, but it has also to be scalable to handle large

  • page counts and computable in real time.

  • AUDIENCE: What does accurate mean here?

  • VERONICA LIESAPUTRA: It means it looks realistic, looks like

  • a real page.

  • For this step, I'm going to explain about three page

  • turning techniques that I have investigated and implemented

  • during six months of my PhD project.

  • The peeling method, particle method, and the

  • finite element method.

  • But before I start explaining about the page turning models

  • that I implemented, I'll explain about the British

  • Library Turning the Pages project, because this is the

  • project that inspired me to actually find my own page

  • turning techniques.

  • So in the British Library Turning the Pages project,

  • readers sit on a touch screen display, a big

  • touch screen display.

  • And they can basically, metaphorically grab the corner

  • of the page and swipe their finger across the display to

  • turn the page.

  • And as you can see, that the [UNINTELLIGIBLE] is not three

  • dimensional and the binding moves in sympathy to where

  • they are when they turn it.

  • And I will show you a video of their promotional reel.

  • [VIDEO PLAYBACK]

  • -For many years, people have been asking to see more pages

  • than we can display in the exhibition galleries.

  • More access to those important books.

  • The British Library is committed to a digitization

  • program that will make our collections available to the

  • widest possible audience.

  • What Windows Vista allows us to do is deliver some of those

  • programs in very creative ways.

  • We're going to make the Turning the Pages tour kit

  • available to libraries throughout the world.

  • And they can quite simply put their collections on line.

  • Turning the Pages seems to appeal to everyone, and we've

  • had positive feedback from people from all over the

  • world, saying that this is exactly what the Internet

  • should be used for.

  • [END VIDEO PLAYBACK]

  • VERONICA LIESAPUTRA: So as you can see that Microsoft is

  • actually supporting this project at the moment.

  • And the way this simulation works is actually by taking

  • photographs at each intermediate page turn point.

  • So for example, if you have the book and you want to turn

  • this page, then they take a photograph on this,

  • this, this and this.

  • And essentially, what is shown to the user is not the

  • computer model of the book, but it's just a series of

  • images, which means that the turning part is predefined.

  • So the cost of creating your book into this Turning the

  • Pages book, if you have a thick book, then it's $200 US.

  • If it's a thin book, it's $2,000 US.

  • And you might think that that sounds reasonable, a thick

  • book, $200, but it's actually per page.

  • So Microsoft is willing to pay about $10,000

  • for a 500 page book.

  • So for my presentation, which is 32 pages, then it will cost

  • me $64,000.

  • And I don't have much money like Microsoft.

  • So I decided to create my own page turning models.

  • The first method is the peeling method.

  • This is the example of the geometric simulation method.

  • In this peeling method, the paper is

  • divided into three sections.

  • The visible part of the page being termed the green bit,

  • the crisp polygon, and the refill area underneath the

  • page being turned.

  • Because we ignore the translation in exact

  • directions, meaning that the crease polygon is the exact

  • reflection of the refill polygon, and it can be

  • computed by drawing a line that is from any clear

  • bisector to the line CP.

  • Because in this method we actually computed the model of

  • the book, that means that the turning part is not

  • predefined, which means that I can actually turn the corner

  • to the place like whatever.

  • It's not just one way, like in the British Library Turning

  • the Pages project.

  • However, because this is a geometric simulation model,

  • that means that for each different type of paper, I

  • have to create a new set of mathematical equations.

  • So for flexible paper, we can use peeling--

  • How do you right click this?

  • I'm serious.

  • So basically, it's become not universal.

  • In this simulation, we choose a physical simulation.

  • And the physical simulation, because we take into account

  • the material properties of the paper and the forces that we

  • apply to the paper, this means that it can be used for any

  • type of paper just using one formula.

  • It consists of four major components, the mesh

  • representations, the internal forces, external forces, and

  • the time integration.

  • So the first method is the practical method.

  • [AUDIENCE CONVERSATION]

  • I can show you the second one.

  • So if it's stiff paper, it will look like that, right?

  • So we are we using a sharing method, instead

  • of the peeling method.

  • In the practical method, we divided the papers into end by

  • end particles that are connected with three different

  • types of springs, stretched springs, shared spring and the

  • band springs.

  • For each of these types of springs, we can choose a

  • different spring constant, which means that we used the

  • string constant to stimulate the material

  • properties of the paper.

  • So for example, if you have a normal flexible paper, it's

  • not easily stretched and sheared, but this can be

  • easily bent.

  • Then you choose a high spring constant value for the

  • stretch, and sheer string with small constant

  • value for the band.

  • The second internal force is the damping force.

  • This is the friction force within the default material.

  • And the two external forces that apply to the paper is the

  • gravity force and the user force.

  • We can calculate the position of the paper at the next time

  • step by using oil or explicit time integrations, with just a

  • normal Newton's Law.

  • However, because we do not want to create the simulated

  • page being torn from the book, we have to use element

  • straining, which basically says that the paper cannot be

  • stretched or sheared more than 10% off its original length.

  • So if we have two particles, particles I and J, and then we

  • basically said that if the original length is one, and at

  • the next time stop the original length is two.

  • Then basically, we move both particles closer together, so

  • the length becomes only 1.1.

  • However, if one of those--

  • So basically, it that particle I, if it's in a fixed

  • position, for example, it's on the spine of the book, then we

  • move particle J closer together to particle

  • I. Can't see it.

  • Should we just refresh it?

  • This is how it looked like.

  • So if you can see there's actually the pink, which is

  • actually the force.

  • So this simulation looked more realistic

  • than the peeling method.

  • However, the paper still looked rather springy, because

  • we used a spring.

  • This is why I used a finite element method, the next one.

  • So in this finite element method, the paper is divided

  • into end by end elements.

  • And each of these elements is then

  • divided into three layers.

  • The bottom layer, the middle layer and the top layer.

  • For each of these elements, we then calculate the internal

  • forces, the external forces and the time integrations.

  • So the first internal force is the stress.

  • This is the force that we applied on each page.

  • If can be calculated by multiplying the deformation

  • metrics with the strength.

  • So strength is just the deformation of the paper.

  • And the deformation metric characterizes the stress

  • strain relationship.

  • This metric is the one that defines how the paper should

  • react under certain forces.

  • It is defined by three constants.

  • The young modules of elasticity, the

  • [UNINTELLIGIBLE] ratio, and the shear correction value.

  • So this four bit at the top is basically saying that if we

  • have a paper that is elongated on the x direction, even if

  • just a little bit, then you will be compressed on the y

  • directions.

  • but if you have favored a compressed next direction and

  • will be a long day on the y direction.

  • So the string is actually the spatial derivative of the

  • point displacement.

  • So instead of calculating every displacement on each

  • point in the element, we define eight reference points.

  • So we put the eight reference points on the middle layer.

  • And by doing this we can define the position x, y

  • position of any points in the element relative to these

  • eight reference points.

  • Then we define normal factors of the middle layers at each

  • of these eight reference points.

  • So by doing this, we then define the z positions of any

  • point in the element.

  • AUDIENCE: Veronica, if you're just using the middle layer,

  • [INAUDIBLE]

  • layers?

  • VERONICA LIESAPUTRA: So we have to use the middle layer,

  • because we want the x and y position, and then the

  • thickness is the z.

  • But that's why we use the normal factor.

  • Basically, it's using this formula, where the w is

  • actually the interpolation function and the psi eta zeta

  • is basically the x, y, z local coordinates in the element.

  • And because we can [UNINTELLIGIBLE], the

  • displacement is basically the position of the point at this

  • time step, minus the position of the point at

  • the next time step.

  • And because we can define the position of any points

  • relative to the positions of the reference points, that

  • means we can write the displacements of any points

  • from the displacement of any reference points.

  • We can write the stress is equal to k times q, where k is

  • the thickness metric and q is the displacement of the eight

  • reference points.

  • If you see this closely, it actually looks similar to the

  • spring force, only we use metrics

  • instead of spring constants.

  • So again, the two important forces will

  • be stress and dumping.

  • And again, we use our dumping metrics

  • instead of jumping constants.

  • Similarly with the external forces.

  • And so basically, you think, again, physics law.

  • Internal force equals external force.

  • And by doing this, we can find an acceleration using the

  • [UNINTELLIGIBLE] implicit time integrations.

  • This one looks more realistic than the particle method.

  • However, this is a [UNINTELLIGIBLE]

  • figure, right?

  • In real time, it actually takes about one hour to do

  • this page turning.

  • So it's not realistic to use it in the real world,

  • especially in just a normal workstation PC.

  • This means that out of these four page turning models, of

  • course, we can't use the British

  • Library, it's too expensive.

  • The finite element method is basically too long.

  • So we have a choice between the peeling and

  • the particle method.

  • While the peeling method looks not so realistic, it can be

  • done just by using a lightweight programming

  • environment, like here I used Flash.

  • It's because in peeling there's just one

  • mathematical equation.

  • While in the particle method, we have differentiation

  • integration, which means that we need a stronger programming

  • environment.

  • So we have to use something like Java or Flash.

  • And because the goal of making the book prototype is

  • basically to create a new document representation in

  • that load class, so people can feel it quickly, then we can't

  • use the particle method.

  • And this is why choose the peeling method, because I can

  • do it just using Flash, instead of Java output, where

  • users need to install more software.

  • Now I will show you my example.

  • Do I get an Internet connection here?

  • Internet connection.

  • What I showed you before was actually taken from Microsoft

  • Power Point presentations and then I

  • converted them into Flash.

  • So I can have animation and video.

  • My portable application also can accept a PDF file.

  • So if you have one PDF file, you tell me the file name, and

  • actually I will run a script to make it into a book.

  • So this is an example from the Internet archive collections.

  • The Rubin with one.

  • And then, the way that this loading works, not only

  • because Flash loads faster than PDF, it's also because

  • the pages that are loaded are only the pages that

  • users want to see.

  • So I don't look at the whole 1,005, it's just 4

  • pages at the start.

  • And when the user flips again, then there's another two pages

  • and it's all cached.

  • So users don't have to do it again.

  • Then you can zoom in and zoom out, as well.

  • And they can jump into any page.

  • As you can see in here, if you're in a PDF, you can

  • actually see where you are in the document or how big

  • exactly your document is right away, just by looking at it.

  • But in here, you can actually--

  • if you get through using the side edge of the book, and you

  • can tell exactly where you are in the document and how big is

  • your document.

  • So this is an advantage again to the PDF format.

  • And, if I go back--

  • it also can accept an HTML file.

  • So if I have one HTML file, this is taken from the

  • Greenstone Humanity Diplomat Library.

  • So this is like the HTML files.

  • And if I view source, then basically you have the

  • metadata of the section name and what's the

  • content of the sections.

  • And because I have this, then in my book I can have this

  • book marked and create an automatic table of contents of

  • where each subject and section started.

  • You can jump into a page, of course.

  • And they can go to the book mark.

  • And if you want to view where all the pictures are, then you

  • just change it, snap to pictures, and you know exactly

  • where all the pictures are.

  • So as you can see that this is really fast. That means I can

  • add more functionality to the book without any added

  • computational time, because it's all really fast. This is

  • my favorite example from my supervisor.

  • He's said that you can't change a real book from hard

  • cover to soft cover.

  • Let me change that to soft cover.

  • So this is like the advantage of having a digital book.

  • You can do more things that a normal book can't.

  • So if you want to play around, that's basically the URL.

  • You can play around with my books.

  • To summarize, page turning is an important navigation

  • feature in a book.

  • Although clicking navigational buttons are effective in

  • digital settings, users actually briefly lose contact

  • with the text, which means that it becomes interruptive.

  • This is why simulating a realistic page turning is an

  • important feature.

  • It's not only engaging users to start turning the page, and

  • look pretty as well, but it actually also allows users to

  • briefly look ahead at the content of the next two pages.

  • In this talk, I have presented three page turning models, the

  • peeling, particle method, and the finite element method,

  • where the peeling has become the chosen one, because it

  • required the lightweight programming environment.

  • And the finite element method is the one

  • that's the most realistic.

  • So my next step of my project is basically to add more

  • functionality to the book, just to make it more usable at

  • searching, annotations, bookmarking, highlighting, and

  • like Bill said, maybe adding some recommended reading,

  • stuff like that.

  • And then I will evaluate this prototype against the

  • conventional representations, which I have

  • to think about more.

  • Thank you.

  • Are there any questions?

  • AUDIENCE: Why is page turning important?

  • You showed a lot of examples.

  • You basically argued that it--

  • My question is really, you've argued that page turning is

  • really important, and I'm wondering what's the

  • evidence for that?

  • We've see a lot of videos of things, but what's the

  • argument that page turning is actually an important

  • functional part of the book experience?

  • VERONICA LIESAPUTRA: The first one is because people

  • actually, when they look at the page turning, they know

  • exactly what to do, unlike scroll.

  • So when I show it to users, this is not tech

  • savvy users, right?

  • They look at my book, they know exactly what to do.

  • They say, oh, I want to turn the book.

  • But if it's scroll, they're a bit confused what to do.

  • AUDIENCE: Do you have any evidence for that?

  • VERONICA LIESAPUTRA: I have done an informal user study.

  • I didn't bring it here, but yes.

  • I'm sorry.

  • And the other thing is also people love options.

  • So, for example, if you want to just efficiently, just

  • clicking the next button, you can.

  • So it will just go flip, flip, flip, flip.

  • Or if you want page turning, then you can-- it's just

  • another option for users, as well.

  • Because it doesn't add those overhead among them anyway.

  • AUDIENCE: So I guess what I'm really trying to get at is,

  • this is a lot of work for something that may not be

  • crucial for the user experience.

  • That's why I'm trying to get the sense of whether or not

  • it's really important.

  • And why you believe it's important.

  • VERONICA LIESAPUTRA: Well, when I did my initial informal

  • user study, it actually showed that they

  • want this page turning.

  • So that's why I did it.

  • AUDIENCE: Do you provide a way, when you do the page

  • turning, to turn multiple pages.

  • I see you turning just to the next page, but can you turn,

  • like pick through a little bit?

  • VERONICA LIESAPUTRA: So at the moment,

  • this is just a prototype.

  • So you mean like if you want to--

  • AUDIENCE: -- flip a few pages.

  • Like two or three, and see the content like three pages down.

  • Sometimes when you thumb through the corners of a book,

  • you're looking for something.

  • VERONICA LIESAPUTRA: I haven't implemented that

  • functionality yet.

  • But I will.

  • AUDIENCE: I was just wondering if you had thought about how

  • the user would do that.

  • How would you distinguish picking the very next page

  • from picking two or three pages down?

  • In terms of the UI.

  • VERONICA LIESAPUTRA: So basically, at the moment, I

  • use heuristic that if the pages are about like ten, five

  • turns, then it will do like those flip,

  • which I will implement.

  • But if it's like far, then it would just

  • straightaway go to that page?

  • AUDIENCE: Yes.

  • VERONICA LIESAPUTRA: So the users don't have to do it.

  • But of course, there's an option that the user can

  • change if they want to continuously flip, then they

  • can as well.

  • AUDIENCE: OK.

  • Thank you.

  • VERONICA LIESAPUTRA: Any questions?

  • Yes.

  • AUDIENCE: One of the things I'd love to see would be

  • [INAUDIBLE] equipment annotations, [UNINTELLIGIBLE].

  • VERONICA LIESAPUTRA: Yes.

  • So that will be my next version.

  • I will add annotations and highlighting and searching,

  • basically just to make the book more usable.

  • That will be my next step.

  • Any other questions?

  • Suggestions, maybe?

  • MALE SPEAKER: Thank you very much.

MALE SPEAKER: I would like to introduce Veronica Liesaputra,

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翻開電子書的書頁--現實的電子書 (Turning the Pages of an eBook - Realistic Electronic Books)

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    Lao gau 發佈於 2021 年 01 月 14 日
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