1,721,070 research outputs found
On the role of user-centred evaluation in the advancement of interactive information retrieval
Full text linkThis paper discusses the role of user-centred evaluations as an essential method for researching interactive information retrieval. It draws mainly on the work carried out during the Clarity Project where different user-centred evaluations were run during the lifecycle of a cross-language information retrieval system. The iterative testing was not only instrumental to the development of a usable system, but it enhanced our knowledge of the potential, impact, and actual use of cross-language information retrieval technology. Indeed the role of the user evaluation was dual: by testing a specific prototype it was possible to gain a micro-view and assess the effectiveness of each component of the complex system; by cumulating the result of all the evaluations (in total 43 people were involved) it was possible to build a macro-view of how cross-language retrieval would impact on users and their tasks. By showing the richness of results that can be acquired, this paper aims at stimulating researchers into considering user-centred evaluations as a flexible, adaptable and comprehensive technique for investigating non-traditional information access systems
Empowering Cultural Heritage Professionals with Tools for Authoring and Deploying Personalised Visitor Experiences
No full textThis paper presents an authoring environment, which supports cultural heritage professionals in the process of creating and deploying a wide range of different personalised interactive experiences that combine the physical (objects, collection and spaces) and the digital (multimedia content). It is based on a novel flexible formalism that represents the content and the context as independent from one another and allows recombining them in multiple ways thus generating many different interactions from the same elements. The authoring environment was developed in a co-design process with heritage stakeholders and addresses the composition of the content, the definition of the personalisation, and the deployment on a physical configuration of bespoke devices. To simplify the editing while maintaining a powerful representation, the complex creation process is deconstructed into a limited number of elements and phases, including aspects to control personalisation both in content and in interaction. The user interface also includes examples of installations for inspiration and as a means for learning what is possible and how to do it. Throughout the paper, installations in public exhibitions are used to illustrate our points and what our authoring environment can produce. The expressiveness of the formalism and the variety of interactive experiences that could be created was assessed via a range of laboratory tests, while a user-centred evaluation with over 40 cultural heritage professionals assessed whether they feel confident in directly controlling personalisation
User-centred Design of Flexible Hypermedia for a Mobile Guide: Reflections on the HyperAudio Experience
No full textExploring Digital-Material Hybridity in the Postdigital Museum
No full textFor many outside of the scientific community, big data and the forms it takes, such as statistical lists, spreadsheets and graphs, often seem abstract and unintelligible. This book investigates how digital fabrication and traditional making approaches are being used to present data in newly engaging and interesting ways.
The first part of the book introduces the basic premise of the data object and the concept of making digital data into a physical form. Contributors cover topics such as biometrics, new technology, the economics of data and open and community uses of data. The second part presents a selection of exemplar forms and contexts for the application of data-objects, such as smart surfaces, smart cities, augmented reality techniques and next generation technical interfaces that blend physical and digital elements.
Making Data delivers the importance and likely future prevalence of physical representations of data. It explores the creative methods, processes, theories and cultural histories of making physical representations of information and proposes that the making of data into physical objects is the next important development in the data visualisation phenomenon
Industry 4.0: Is It the Time for Interaction Design Craftsmanship?
Full text linkThe technological innovation of Industry4.0 opens up new possibilities for bespoke and unique designs all rooted in the same technology and supported by the same services. Taken together, Cyber-Physical Systems, Cloud Computing and Internet of Things offer a neutral platform for the creation of hybrid digital physical objects. The economy of scale is reached by sharing the same technology across different projects and potentially very different domains. This vision is illustrated by the work done in the meSch project and its platform for the production of novel interactive experiences in museums. Six installations designed by recombining the same electronic components and the same services are used as a case study. They show how the meSch platform is aligned with Industry4.0 principles of enabling dynamic composition, supporting distributed production, and monitoring use for service improvement. As a platform it supports single-piece production and empowers designers to create bespoke solutions with the same technological core
An examination of automatic video retrieval technology on access to the contents of an historical video archive
Full text linkPurpose – This paper aims to provide an initial understanding of the constraints that historical video collections pose to video retrieval technology and the potential that online access offers to both archive and users.
Design/methodology/approach – A small and unique collection of videos on customs and folklore was used as a case study. Multiple methods were employed to investigate the effectiveness of technology and the modality of user access. Automatic keyframe extraction was tested on the visual content while the audio stream was used for automatic classification of speech and music clips. The user access (search vs browse) was assessed in a controlled user evaluation. A focus group and a survey provided insight on the actual use of the analogue archive. The results of these multiple studies were then compared and integrated (triangulation).
Findings – The amateur material challenged automatic techniques for video and audio indexing, thus suggesting that the technology must be tested against the material before deciding on a digitisation strategy. Two user interaction modalities, browsing vs searching, were tested in a user evaluation. Results show users preferred searching, but browsing becomes essential when the search engine fails in matching query and indexed words. Browsing was also valued for serendipitous discovery; however the organisation of the archive was judged cryptic and therefore of limited use. This indicates that the categorisation of an online archive should be thought of in terms of users who might not understand the current classification. The focus group and the survey showed clearly the advantage of online access even when the quality of the video surrogate is poor. The evidence gathered suggests that the creation of a digital version of a video archive requires a rethinking of the collection in terms of the new medium: a new archive should be specially designed to exploit the potential that the digital medium offers. Similarly, users' needs have to be considered before designing the digital library interface, as needs are likely to be different from those imagined.
Originality/value – This paper is the first attempt to understand the advantages offered and limitations held by video retrieval technology for small video archives like those often found in special collections
On the writing, reading and publishing of digital stories
No full textPurpose – The purpose of this paper is to describe a study set up to investigate and map the landscape of digital writing today. A holistic perspective has been adopted involving writers, readers and publishers alike.
Design/methodology/approach – The research uses a qualitative approach and combines interviews and direct observations. In in-depth interviews 13 participants (four writers, four publishers, three readers and two on-line readers) were questioned for their opinions on issues related to writing, publishing and reading digital fiction. The three readers were also observed while interacting, for the first time, with three digital stories.
Findings – Results show that the area is still unsettled though much excitement surrounds experimentations and freedom of publishing online. Readers seem uneasy with the role of co-creators that writers want to assign them and prefer linear stories to more deconstructed ones. Writers like to experiment and combine multiple media and readers like to interact with multimedia stories; this seems to open interesting perspectives over interactive narrative. Publishers are not yet involved in digital writing and this is seen simultaneously as a blessing (unfiltering of innovative ideas) and a curse (lack of economical support, lack of quality selection). Despite disagreement and ambiguity all interviewees agree that digital fiction will come, likely prompted by new reading technology.
Originality/value – This paper is the first attempt to understand the phenomena of digital writing taking into consideration the perspectives of writers, readers and publishers simultaneously and comparing their different views
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