Lists four tutorials to be given on site. The complete presentations were not made available for publication as part of the conference proceedings.
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"Magic, also called prestidigitation or conjuring is the art of entertaining an audience by performing illusions that baffle and amaze, often by giving the impression that something impossible has been achieved, almost as if the... more
"Magic, also called prestidigitation or conjuring is the art of entertaining an audience by performing illusions that baffle and amaze, often by giving the impression that something impossible has been achieved, almost as if the performer had magic or supernatural powers." ...
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The situation is further complicated by the convergence of different media used for the delivery of digital/digitized information. The same content has to meet the constraints of different display devices and bandwidth limitations.... more
The situation is further complicated by the convergence of different media used for the delivery of digital/digitized information. The same content has to meet the constraints of different display devices and bandwidth limitations. Furthermore, digital delivery makes possible ...
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this paper is twofold: a) to present an analysis of the characteristics of digital environments, and b) to suggest their potential uses in the building of collaborative pedagogical procedures for the digital medium
Although art appreciation/exploration is essentially a pri-vate experience, it cannot exist outside of a social context. Digital environments offer great potential for the enhance-ment of collaborative aspects of both art creation and art... more
Although art appreciation/exploration is essentially a pri-vate experience, it cannot exist outside of a social context. Digital environments offer great potential for the enhance-ment of collaborative aspects of both art creation and art exploration. However, the current notion of a digital ...
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this paper I will use the example of documenting the art creation process to explore the implications of the history logging potential of the digital medium for creative processes in general.
Only a decade ago eyeand gaze-tracking technologies using cumbersome and expensive equipment were confined to the university research labs. However, rapid technological advancements (increased processor speed, advanced digital video... more
Only a decade ago eyeand gaze-tracking technologies using cumbersome and expensive equipment were confined to the university research labs. However, rapid technological advancements (increased processor speed, advanced digital video processing) and mass production have both lowered the cost and dramatically increased the efficacy of eyeand gaze-tracking equipment. This opens up a whole new area of interaction mechanisms with museum content. In this paper I will describe a conceptual framework for an interface, designed for use in museums and galleries, which is based on non-invasive tracking of a viewer's gaze direction. Following the simple premise that prolonged visual fixation is an indication of viewer's interest, I dubbed this approach intention-based interface.
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The introduction and acceptance of any new technology by the general public goes through a stage during which the capabilities of the new technology are tested and measured agalnst traditional procedures. During this process the new... more
The introduction and acceptance of any new technology by the general public goes through a stage during which the capabilities of the new technology are tested and measured agalnst traditional procedures. During this process the new technology is often used in a manner similar to and with the constraints characteristic of the traditional procedures, even if the new technology is not bound by them. It takes time and experimentation for the new technology to be adopted and exploited to its full potential. Today, we find our- selves in a similar situation In respect to the introduction of the digital medium. Initially, the interactions that took place in this medium mimicked the ones we were used to con- ducting in other media. Thus, the first electronic exchanges were conceptualized as 'e- mail' although they differ from traditional maii in almost every respect: the exchange is almost instantaneous and is not affected by geographic distance, the 'mail' can stay for...
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Abstract This paper examines emerging interface paradigms, to a certain extent exemplified by Apple's iPhone interface for interacting with complex visual content. It provides an overview of 15 years... more
Abstract This paper examines emerging interface paradigms, to a certain extent exemplified by Apple's iPhone interface for interacting with complex visual content. It provides an overview of 15 years of research devoted to the creation of intuitive user-friendly interfaces, as well as conceptual analysis of design principles. Implications for the design of interfaces for cultural heritage information are also discussed.
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The introduction and acceptance of any new technology by the general public goes through a stage during which the capabilities of the new technology are tested and measured against traditional procedures. During this process the new... more
The introduction and acceptance of any new technology by the general public goes through a stage during which the capabilities of the new technology are tested and measured against traditional procedures. During this process the new technology is often used in a manner similar to and with the constraints characteristic of the traditional procedures, even if the new technology is not bound by them. It takes time and experimentation for the new technology to be adopted and exploited to its full potential. Today, we find ourselves in a similar situation in respect to the introduction of the digital medium. Initially, the interactions that took place in this medium mimicked the ones we were used to conducting in other media. Thus, the first electronic exchanges were conceptualized as "e -mail" although they differ from traditional mail in almost every respect: the exchange is almost instantaneous and is not affected by geographic distance, the "mail" can stay forever...
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The introduction and acceptance of any new technology by the general public goes through a stage during which the capabilities of the new technology are tested and measured agalnst traditional procedures. During this process the new... more
The introduction and acceptance of any new technology by the general public goes through a stage during which the capabilities of the new technology are tested and measured agalnst traditional procedures. During this process the new technology is often used in a manner similar to and with the constraints characteristic of the traditional procedures, even if the new technology is not bound by them. It takes time and experimentation for the new technology to be adopted and exploited to its full potential. Today, we find ourselves in a similar situation In respect to the introduction of the digital medium. Initially, the interactions that took place in this medium mimicked the ones we were used to conducting in other media. Thus, the first electronic exchanges were conceptualized as 'email' although they differ from traditional maii in almost every respect: the exchange is almost instantaneous and is not affected by geographic distance, the 'mail' can stay forever in on...
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Although art appreciation/exploration is essentially a private experience, it cannot exist outside of a social context. Digital environments offer great potential for the enhancement of collaborative aspects of both art creation and art... more
Although art appreciation/exploration is essentially a private experience, it cannot exist outside of a social context. Digital environments offer great potential for the enhancement of collaborative aspects of both art creation and art exploration. However, the current notion of a digital environment is vague, and most often associated with the traditional concepts of computer use. Thus, the goal of this article is twofold: (a) to present an analysis of the characteristics of digital environments, and (b) to suggest their potential uses in the building of collaborative pedagogical procedures for the digital medium.
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For full text: http://www.archimuse.com/mw2002/papers/milekic/milekic.html/. ... In: Museums and the Web 2002: Selected Papers from an International Conference (6th, Boston, MA, April 17-20, 2002); see IR 058 778. ... Help ERIC expand... more
For full text: http://www.archimuse.com/mw2002/papers/milekic/milekic.html/. ... In: Museums and the Web 2002: Selected Papers from an International Conference (6th, Boston, MA, April 17-20, 2002); see IR 058 778. ... Help ERIC expand online access to nearly 340,000 ...
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Action, Affection & Control: Interface Guidelines for Complex Visual Content Read more: Archives & Museum Informatics: Museums and the Web 2009: Paper: Milekic, S., Action, Affection and Control: Interface Guidelines for Complex Visual Content http://www.museumsandtheweb.com/mw2009/papers/milekic...more
Summary Only a decade ago eye- and gaze-tracking technologies using cumbersome and expensive equipment were confined to the university research labs. However, rapid technological advancements (increased processor speed, advanced digital... more
Summary Only a decade ago eye- and gaze-tracking technologies using cumbersome and expensive equipment were confined to the university research labs. However, rapid technological advancements (increased processor speed, advanced digital video processing) and mass production have both lowered the cost and dramatically increased the efficacy of eye- and gaze-tracking equipment. This opens up a whole new area of interaction mechanisms with museum content. In this paper I will describe a conceptual framework for an interface, designed for use in museums and galleries, which is based on non-invasive tracking of a viewer's gaze direction. Following the simple premise that prolonged visual fixation is an indication of viewer's interest, I dubbed this approach intention-based interface.
Research Interests:
Research Interests:
This paper examines emerging interface paradigms, to a certain extent exemplified by Apple's iPhone interface for interacting with complex visual content. It provides an overview of 15 years of research devoted to the creation of... more
This paper examines emerging interface paradigms, to a certain extent exemplified by Apple's iPhone interface for interacting with complex visual content. It provides an overview of 15 years of research devoted to the creation of intuitive user-friendly interfaces, as well as conceptual analysis of design principles. Implications for the design of interfaces for cultural heritage information are also discussed.