Design experience and theoretical discussion suggest that a narrow design focus on one tool or medium as primary may clash with the way that everyday activity involves the interweaving and combination of many heterogeneous media. Interaction may become seamless and unproblematic, even if the differences, boundaries and 'seams' in media are objectively perceivable. People accommodate and take advantage of seams and heterogeneity, in and through the process of interaction. We use an experiment with a mixed reality system to ground and detail our discussion of seamful design, which takes account of this process, and theory that reflects and informs such design. We critique the 'disappearance' mentioned by Weiser as a goal for ubicomp, and Dourish's 'embodied interaction' approach to HCI, suggesting that these design ideals may be unachievable or incomplete because they underemphasise the interdependence of 'invisible' nonrationalising interaction and focused rationalising interaction within ongoing activity. INTRODUCTIO NAn important recent HCI text [11] drew upon philosophy in discussing the accommodation of new technology by users, and their appropriation of it as they find their own ways to use and understand it. Dourish suggested that everyday human interaction is embodied i.e. is non-rationalising, intersubjective and bodily activity. Traditional approaches to HCI offer many guidelines for system design, but do not take full account of embodiment, according to this view. They are not in accord with the activity they aim to support. He raises the issue of embodiment but draws back from offering specific principles and guidelines, favouring instead statements that help sensitise designers to the general issue, e.g. users, not designers, create and communicate meaning and users, not
Northumberland has a long history of public engagement surrounding its ancient rock-art. Recent advances in digital technologies have enabled archaeologists to enrich this engagement through the provision of open access to substantial rock-art datasets online. Building on these achievements, the Rock Art on Mobile Phones (RAMP) project allows Northumberland's countryside visitors to access in situ interpretation at three rock-art areas on their mobile phones. During the RAMP coexperience workshops it emerged that the key issues the public expected to be addressed by the mobile interpretation included locating rock-art, the desire for ambiguity and speculation about rock-art, and connecting to the landscape. The paper discusses, on the one hand, how these themes were incorporated into RAMP's conceptual design and, on the other hand, how RAMP themes compare with the Audience Development Plan produced by the archaeologists who created an online database. We consider the implications of these findings for the development of open-access online resources and in situ public interpretation.
Digital heritage interpretaion is oten untethered from tradiional museological techniques and environments. As museums and heritage sites explore the potenials of locaive technologies and ever more sophisicated content-triggering mechanisms for use outdoors, the kinds of quesions digital heritage researchers are able to explore have complexified. Researchers now find themselves in the realm of the immersive, the experienial, and the performaive. Working closely with their research paricipants, they navigate ambiguous terrain including the oten unpredictable affecive resonances that are the direct consequences of interacion.This aricle creates a dialogue between two case studies which, taken together, help to unpack some key methodological and ethical quesions emerging from these developments. Firstly, we introduce With New Eyes I See, an iinerant and immersive digital heritage encounter which collapsed boundaries between physical/digital, fact/ficion and past/present. Secondly, we detail Rock Art on Mobile Phones, a set of dialogic web apps that aimed to explore the potenial of mobile devices in delivering heritage interpretaion in the rural outdoors.Looking outward from these case studies, we reflect on how tradiional evaluaion frameworks are being stretched and strained given the kinds of quesions digital heritage researchers are now exploring. Drawing on vignetes from experience-oriented qualitaive studies with paricipants, we ariculate specific common evaluaive challenges related to the embodied, mulimodal and transmedial nature of the digital heritage experiences under invesigaion. In doing so, we make the case for reflexivity as a centraland more collaboraive feature of research design within this field going forward; paying atenion to, and advocaing, the reciprocal relaionship between researchers and the heritage experiences we study CCS CONCEPTS:• Human-centered compuing~Ubiquitous and mobile compuing design and evaluaion methods • Human-centered compuing~Empirical studies in ubiquitous and mobile compuing • Human-centered compuing~Field studies • Human-centered compuing~HCI design and evaluaion methods • Applied compuing~Arts and humaniies KEYWORDSOn-site and remotely sensed data collecion; storytelling and other forms of communicaion; mulimedia systems; Web-based and mobile technologies for CH, ICT technologies in support of creaing new cultural experiences or digital artefacts
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