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In the consequent design practice unit the design philosophies and dissemination ideas discussed in this section - co-evoved with this conclusion - can be applied to develop the system into one suitable for real-world implementation, and hopefully one involving many quiet pleasures in use. The system proposed is based around adding technology to the visitor, effectively providing them with a tool equivalent to a personal curator-cum-tour-guide. There are two sides to the system, this tool - the Visitors' Product (VP) - and the Museum Integration Infrastructure (MII). The Visitors' Product has a primary function of a personal adaptive-hypermedia presentation device for enhanced understanding and enjoyment of the museum, operated by tacit and implied input synthesised with knowledge of it's position, the user, it's history of use by that user, and a virtual museum database. It has secondary functions of a navigator device and note-taker. The Museum Integration Infrastructure supports the VPs' operation through the museum environment, accommodates off-line functions, adds follow-up material, and incorporates the VP into the greater museum visit experience. Together, they expand the user experience beyond the museum through custom follow-up material based upon knowledge of the user's visit and provide the museum operators with invaluable museum usage information. The Visitors' Product will feature: - 'Looking Glass' - a novel realisation of augmented reality consisting of a transparent display used to guide user to correct registration (framing up the exhibit) and to augment exhibits with spatially aligned visual information - Headphones - to provide aural narrative guide - CPU & related hardware - containing database, context of use interpreter and adaptive hypermedia engine - Sensors - hotspot determining and for gestural input - Controls - explicit input for whatever is undesirable to be gestural - Physical icon receptor - to provide initialising user profile The Museum Integration Infrastructure will feature: - Distributed autonomous transmitter tags - to mark hotspots - Docking station - charging and information exchange - Server computer - link to www server and virtual museum database design software - Physical icons - different forms reflecting various broad user profiles, chosen on entry This generic system will operate as such: A visitor will enter the museum, and be presented with a display of physical icons representing predefined user profiles, such as 'English speaking academic'. Having chosen one they will combine it with the VP they also receive. This initialises the adaptive hypermedia system in the VP to a certain degree of personalisation. The visitor then proceeds into the exhibit space whereupon an audio commentary starts through the headphones. As the visitor enters an invisible 'hotspot' around an exhibit, the narrative changes to be specific to that exhibit. Whenever the narrative makes reference to a physical feature, the looking glass is used to identify the feature and visually annotate the narrative: looking through the looking glass display effectively superimposes graphics onto the exhibit, with correct alignment by the visitor. The technologically updated looking glass itself does the majority of this by virtue of its size, and accurate alignment is achieved through a framing display consisting of a silhouette mask. The VP adapts the narrative's content and presentation as per the HyperAudio research , ie. through consideration of the user's responses to its presentation so far and inferences obtained by the user's movements through the exhibit space against information about the exhibits themselves. Upon leaving the exhibit space, the VP is handed back and docked onto its recharge bay where the history of the user's visit is also uploaded onto a conventional computer (and any updates to the virtual museum model downloaded). The visitor is then given the option of follow-up material customised through the knowledge of the visitor's history, which could be in the form of a web page or hardcopy. The visitor history information can logged for analysis without any legal or moral implications, as there are no personal details, just knowledge of the stereotype the visitors identified themselves as on entry./DLU?@@@@@?zlist ambienttitleAmbient Technology subtitle*Humane Design of Electronic Omnipresence ambientload 0:8PambientThe term 'ambient technology' was conceived for this project to describe 'the application of technology in a non-imposing and ubiquitous fashion, such that it's benefits come readily and naturally to the user without detracting from their otherwise normal activities'. This essay will develop this premise into practical advice for designing ambient technology. The crucial starting point is to identify how people perceive the technologies that surround them, and examine why the relationships duly built can sometimes be stressful and imposing, yet sometimes serene and even pleasurable. Various thinkers have proposed that there is a dichotomy in how we perceive the world: we either have to interpret what we perceive or there is already an automatic, learnt, interpreter in place ('affordance', after Gibson , is probably the most widespread term for this interpretation). This premise can be used to develop the concept of two conscious 'areas' of perception: the centre where whatever we are focused on resides, and the periphery where whatever we are attuned to without attending to explicitly resides . This notion of periphery can be used to address the two challenges proposed in the ambient technology definition: making ubiquitous technology non-imposing, dealt with next, and making the benefits of the technology come readily and naturally, dealt with after. By designing for the periphery much information can be digested without detracting from the user's otherwise normal activity, ie their focus, the centre. This makes the technology non-imposing, if coupled with design that allows the ability for the information source to switch easily between the periphery and centre (and back) when the information becomes relevant and needs attention. Another advantage of designing for the periphery is that it can act as a radar to the immanent future, detecting signs that something is about to happen so that when it does we are prepared for it (even if we don't realise we are). A similar argument applies for the near past. For the benefits of ambient technology to come readily and easily it is first necessary to clarify the problem: consider that as people using technology for our own ends, the internal workings are irrelevant to the benefits. They certainly are related in the material world, but from a psychological view, or just user centred functionalism, there is no connection. Therefore, the problem of harnessing the benefits is essentially an input/output problem. The challenge then is to design the technology so it takes our wishes and delivers the results back, or more pertinently communicates, using human techniques. We communicate both explicitly and implicitly, then so should ambient technology. Implicit techniques will also be useful to engage the periphery, allowing a direct understanding without interpretation. Designs should therefore use speech recognition and synthesis, gestural commands whatever people would use in the context of the technologies' use - this will be the key to harnessing the benefits of the technology naturally. To illustrate these points with a common product of electronic omnipresence and rarely humane design, consider the mobile phone. One of the main problems of mobile phones is that of the ringer - to the user it is often quite a shock when it goes off and can often be socially undesirable. When close to loudspeakers, the signal between phone and tower often interferes and so can often be subtly heard. This can be comforting as it gives one a chance to prepare for the actual ringing almost without realising it. Likewise some phones vibrate, which the periphery is attuned to, so that when it does start there is a progression of peripheral recognition, a switch to the centre and a conscious decision to answer it or not, and if not it falls back to the periphery with ease, to the point where you suddenly realise that the caller has rung off - giving pre and post attentive perception. A recent MA project within the BIAD school of product design developed a gesturally operated mobile phone, which shows how consideration of the human angle can radically transform an established product. It mounted the phone in a scarf, turned on when picked up and adjusted to the context of its use: drawing it tight around your head assumes privacy and so reduces the volume, and so on. The challenge of this project is to develop these ideas into the conceptual stage, such that Kenneth Grange's 'small pleasures' of mechanical objects become 'quiet pleasures' of electronic products.0jb@@@@@@@@@@