Beruflich Dokumente
Kultur Dokumente
gesture BENEFITS
CONNECTION based interactions in museums
IDLE MODE FRAMEWORK – prof. OF
PLOT MOMENTS p. CHOICE
heidkamp – ws
CONTENT 07/08
PLOT – FACILITY
TESTING kisd
s e l f co m p i l e d p l o t s t e p t o u n d e rs t a n d i n g ana rink
ronny reichmann
Table of Contents
Introduction ............................................................................................................. 1
Conclusion ............................................................................................................. 59
more than ever before in the orbit of leisure industries. They are faced with the
They look at technology as a possible partner which can help archive a balance
between leisure and learning as well as help them be more effective in convey-
ing story and meaning. Technology can help construct a coherent narrative of
an exhibit for the visitor by creating experiences in which the objects on display
narrate their own story in context. Using interactive techniques embedded in the
physical space museums can present a larger variety and more connected ma-
terial in an engaging manner within the limited space available. The interaction
systems enhance the memory of the visit and help build a constructivist-style
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scape of museums around the world. The contents architecture and the meta-
phorical connection to the architecture of the building, are the strong aspects in
it´s exhibitions.
Using both systems is not intuitive at all. It feels unresponsive and slow. One has
to consciously and perpetually adjust its gestures to “force” the system to react
in a proper way. Reducing the extent of the target group to technical enthusi-
asts is not the right way to follow. After discussing this issue we realized that
we didn’t want to contaminate GPD’s strong concept with such a weak link and
therefore decided to NOT call this situation a problem, but a chance to create a
less error-prone and by design more ergonomic and easier to implement inter-
face.
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By one of our periodic state-analysis one more difficulty was encountered: The
ing visitor has in every case to be taught how to use such an interface anyway.
Especially by keeping in mind the average time a visitor should be allowed to use
the interface, teaching gestures, that a visitor is not used to, seemed the wrong
way for us. We didn’t want to fiddle with more or less graphically / superficial
quick- and dirty-solutions. There had to be more in order to stay with the high
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Research phase I
were made. The project group split the questions into the following categories:
group mode and added value. Our group summarized the questions
about gestures. Then the search for detailed information about dif-
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Feedback – How can we make the user believe and understand that his
gestures are causing an action in the interface (the user has to get a Hiroshi Ishii, tangible interface
“Music bottles” (1999)
feedback about his actions)?
his actions.
movements and the movements of the cursor which left the visible
Nintendo Wii interface
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projection space by every hand movement; there is a positive aspect in the Wii
interface - the vibration of the control device when the virtual hand is touching
the surface of the buttons. This kind of feedback is very important for instance
in the “Virtual flights” learning systems where the tactile connection between the
b) Gestures for elementary needs are same in different cultures (like threatening
with a finger).
c) Gestures are a culturally formed working process: the humans need for hapti-
cal movements – grabbing working tools. The hand as the most developed
working tool is involved in the creation process of virtual objects (for instance
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f) Gestures can not only convey the content but be involved in moderat-
gestures for the interaction with the interface can cause misunder-
gesture) [6].
Use of the hand gesture for appropriate tasks: it is important to choose carefully
the tasks that gesture input is going to be used for. While gesture input is natural
for some navigation and direct manipulation tasks, it is inappropriate for tasks
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Example: using the interface of Alterface “Salto”, the finger is pointed to the
screen as a mouse pointer for moving the cursor, but when you have to select
something you tend to tense your arm and make short movements similar to
clicking the mouse and if you don’t get the feedback it becomes a negative expe-
rience.
a) Body movements. In the game “Collabola” the body movements are sent as
a gesture too. We found an example, where a natural body movement can de-
beider Basel) - video installation with sensoring the breathing of the user.
A frame from film “Draussen” by P.Juchli
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b) Distribution of weight: the system detects users declination – when his body
d) Gaze detection. “Even rudimentary gaze recognition adds power to the inter-
face. As an example of this Bolt used the Media Room to design an interface
thirty different moving images at once on the wall display, complete with a ca-
Media Room by Richard Bolt, 1984
cophony of their soundtracks all combined into one. Gaze detection was then
used to change the relative size of each of the moving images. If the users
gaze was fixed on a particular channel all the soundtracks to the other chan-
nels were turned off. If they continued watching, the image would zoom to fill
the wall display. The net effect is that the computer filters out all but the in-
in conversation” [9].
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Intuitive and ergonomic – How to make the user feel confortable
abstract and package input and output devices [10]). Phidgets make the user
believe that his natural body movements influence the physical action in the
b) Using simple actions based on common experience: “If something has a Roller controller – an input
device for children
handle, we grab it, if something has a base bigger than it’s apex – we should
ence, a harmonic gesture, adapted to the psychology and physique of the user,
Phidget RFID prototype Example 1: Roller Controller - an input device for young children. Children
are having trouble looking at the screen while touching the control device.
The rotation movements on a big ball are accepted better by children than
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The cursor isn’t calibrated well with the screen-size and the gesture of the
small movement of the hand holding the device and the cursor goes out of
image is zoomed out and zoomed in – intuitive like move- Movement of the cursor on the
Nintendo Wii game projection
ment in the space [4].
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consequently the front surface projection to show the correspondent vi-
sual and auditory information. One can see the floor map projection like a
mouse pad, the person walking onto the map like the mouse driving the sys-
tem, and the vertical large projection screen as the computer display [13].
This system is intuitive because the user influences the image on the front
F.Sparacino Video Wall and screen by walking like moving through the real-life space.
Interactive Carpet, 1999
d) Not too complicated system. The aimed immersion of the user into the system
occur when the psycological connection with the medium is understood [14].
tire the user. On the other Hand, if the gesture is repeated to rarely, the user
f) Avoiding errors by setting the right duration. In critical situations the most
of the people tend to use familiar gesture patterns. Sometimes the slowing
permits the user to remember better the command and its consequence. For
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other gestures require a learning process and are not intuitive and connected
many places of the exhibition it’s worth to make the training. But if the system
will be used only once and it’s usage is too complicated, the user will probably
leave. On the other hand the trained users will feel challenged by the complicated
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The list of analysed interactive interfaces:
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First proposals
become larger and in one of the cube faces Selecting a cube from the rotating menu
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tive system might look like and how the system could catch
tion device, the system is able to realize at least that there 6.1 ACTIVE MODE 6.2 6.3
orbit of elements gets minimized visitor in process of getting nearer visitor in optimum position:
is something moving from one position to another. The orbit speed increases elements get ordered
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Research phase II
Flavia Sparacino:
Interactive experiences:
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amount of options to the visitor and the public after trying all the possible op-
tions is often not attracted back to the piece). So the critical point in such a sys-
tem is to be able to engage the visitor to the experience. Therefore to engage the
Behavioral interactive system “Rea”
visitor we have to concentrate on elaborating an original and unexpected content by Cassell, 1999
presentation style and conveying the visitor through the system by using drama-
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Research phase III: Dramaturgy
and trying them out some usability problems were encountered. The user is con-
centrated too much on “struggling” with the interface and could loose the con-
nection to the value of the exhibition. The focus switched to the construction of
Brecht´s Epic Theater concept. “It was this conception that Brecht abhorred,
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terror and pity, the drama of spectator identification with the actors, the drama
are represented as totally present, while palpably they are not. Such a theater
The research about different dramaturgies revealed, that the epic theater by
Bertolt Brecht was closest to the spanish classic theater tradition in it´s didactic
character. The so called “World-theater” - typical for the spanish theater school
and mankind. “Do it right, God is above you” - in this phrase from the theater we
see the non-acceptance of misbehaviour and the ability to change things: “God
gave the man the possibility of making his life better” [19]. The mentioned state-
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Recording the speech of B. Micka (GPD), where he told that the aim of the Exhi-
bition “Memory of Andalusia” is the didactic effect on the visitors, the decision
of working on dramaturgy was made. The dramaturgy for this exhibition should
on the way of introducing the content. Nowadays the most of the exhibitions
follow the Gesamtkunstwerk concept (typical to the american theater and cin-
ema school too) where the actors create the illusion of immersion and make the
visitors identify with the characters represented by actors. The visitors are im-
mersed in this created world, they experience trance, magic, narcotic and hyp-
notic effects and they accept what is happening on the stage - “life is like that”.
But they are not forced to think. Whereas in the classic theater and the epic
theater the alienation is created by wearing masks, keeping distance between the
actor and his character and therefore between the actor and the audience. The
audience doesn´t accept, what is happening on the stage, it´s vision is irritated
ing of unexpected characters, this way the barrier to empathy is created. “Life
doesn´t have to be like that, there are options”. This theatrical approach has a
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to learn something from this experience. A clear division between the reality and
the story is created – the described events are from the history. Addidtionally,
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Gestures in the theater
The research about gestures in the theater science followed. We analysed the
french theater scientist Francois Delsarte work about gestures [20]. One of the
most characteristic Delsarte´s statements is, that the gesture of the actor can
od [21] used in the Soviet Union and American theater schools, which teaches to
imagine the characters emotions and feelings that will automatically convey to
the right gestures. According to Delsarte´s, there are three types of gestures:
a) individual gestures
b) cultural gestures
c) emotional reactions
Delsarte also describes the attitudes of the hand by talking about an imaginary
cube: he divides the hand gestures into 7 types. For instance, one of them is the
“support” gesture when the palm of the hand is on the bottom face of the invis-
ible cube [22]. This classification of the gestures could be really useful on small-
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because of the technological limits. The tracking of the hand movement, position
and rotation requires a very sophisticated technology and the imprecise inter-
Gestus
The next step in developing our concept was finding out more about the tech-
niques of Bertolt Brecht´s Epic Theater [18]. The gesture or “Gestus” has a very
important role in it. This term expresses all basic human attitudes, not merely
gesture, but all signs of social relations: department, intonation, facial expres-
terpointing. There is a basic attitude in all scenes, for instance despair, defiance,
submission.
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The Gestus is a central basic action that repeats in all scenes. All scenes are
rounded and complete themselves, but there is the main attitude that connects
them.
applied to the exhibition environment too. For sure an exhibition is not a cinema
nor a theater piece, it differs by it´s inconstant character like the movement of
the visitors through the space, no boundaries like tickets or start-time. Therefore
the timing of the piece in the interactive system should consider this absence of
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duction, it has to involve the user in a shorter time and keep his attention by the
opportunity of interaction.
Returning to the analisys of the movie “Baal” In the construction of the story, in
thinking during all the film and we realised that it had the right
by the emotional content which often has a heavy effect on the audience. The ef-
fect of the film was: a cristalline clearance of the story, alienation to the actors,
ability to remember almost every scene, the confirmation of the didactic effect.
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Construction of the concept on the base of research
On the base of our research we realised that the movement of the body could
The gesture influences the state of mind of the actor according to F.Delsarte
[20], so it´s very important to choose the right gesture to convey the user to the
of a dramaturgy, which will involve the visitor of the exhibition, instead of using
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We will adapt the following methods from the Epic Theater concept:
time;
linear narrative structure) - the user has to be slightly irritated and forced to
think;
e) “boil down” to one essence the interaction, not making people playing too
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It is possible to transfer this cinematic and theatric techniques to an exhibition
exhibition environment have to be much shorter in order to not conflict with the
expectations of the visitor. At the end, this techniques are nothing more or less
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Second proposal: front screen + bottom screen
In order to combine the two quite contradictory functions: to alienate the user
from the system and to connect him to the content, we decided to use in addition
to the front screen a bottom screen which is distanced from the front screen.
The initial idea was to separate these two information layers - the one shown
on the front screen (is referred to the past) and the one shown on the bottom
screen (which is the connection between the past and the present). The visitor
cannot affect directly the reality of the front screen - he´s not allowed
ing on the bottom screen, which symbolise the left-overs from the past,
the memories which he can affect by stepping on them and they will
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As mentioned above the exhibition environment is not the same like cinema or
tecture offers innumerable examples of places which embed and narrate a story
through their spatial layout and décor. By looking at the sequence of floor plans
of historical buildings through the centuries, from the Greek temple, to the Ro-
man church, the medieval dome through today, we understand how a rectangle,
a circle, a cross, or other more complex figures, transmit a message through the
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centuries. This message is a story about how people through times relate to life,
fore the content is the main actor and a constructed example story can help to
The first attempt was the creation of a moodboard based on our general knowl-
edge about Andalusian history and creating a sketch of a story which would be
based on human relationships and values seen through time. In this sketch our
intention was to show how the alteration of past and present events connected
Step to understanding
The basic gesture is a step on a screen that is embedded into the floor. The
just an easy change in position means interaction. As mentioned above the at-
tempt to “boil down” the possible gestures to one simple and strong gesture or
“Gestus” allows the user to concentrate maximally on the narration. The ges-
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“Research phase I” - Video wall and interactive carpet by F.Sparacino, the sys-
and intuitive exploration of the narrative space. Of course the switching of the
attention from the bottom to the front screen and viceversa has to be taken into
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Organisation of the space
2 screens in every corner of the exhibition hall. The 4 screen-areas in the exhi-
bition hall are referred to 4 themes or filters: Fire, Water, Sand and Air. The fire
area represents the more dramatic point of view – crucial points in the Andalu-
etc. Water area represents changes in the social structure. Air refers to religion
Interaction
• The visitor is not selecting options, he is made believe that he can decide, but
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use. He sees the footprints appear in front of him - that gives him the idea to
step on them.
• By stepping onto another screen-area, the visitor performs the “step to un-
derstanding”
• The user is set in the mental situation of letting him “touch” the past by his
• If more than one person is standing on the bottom screen, the first step per-
formed is recognised.
• So if one user leaves the screen, another can continue without interrupting
the story
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Information structure
• past-present-transition
• bottom-front-screen-contradiction
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2) Step onto it: see the front screen change to display bare feet walking on
sand
4) Suddenly the scene is changing: showing a woman on high heels meeting her
5) People are talking to each other – getting more and more amused
6) Suddenly someone begins to talk about a special topic; the group is entering
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7) After a while they are all transferred into the past, talking about the same
9) The scene suddenly switches ones more to the present, but the sounds and
10) The topic of talking is changing to religion, camera rotates to show the floor
11) A muslim in an archaic vesture is going along, kneeling down from time to
time
12) As the camera completes its rotation the people are no longer sitting on the
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the pylon we are back with the people sitting around the table
14) They begin to eat and one can hear the sound of spoons and knifes on por-
celain
15) The camera is moving from showing the whole scene to only showing some
16) Suddenly the surface of the wooden table changes being aged and looking
17) The camera is moving up and shows woman that is washing the dishes in a
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Andalusian history
After the presentation of this concept the research about real facts from Anda-
lusian history was made in order to concentrate on the content itself. Taking into
consideration the main periods of Andalusian history, the most influent on the
formation of the Andalusian culture and religion is the Arabian invasion or Emir-
ate Al-Andalus and later the Caliphate of Córdoba. That was the time that affect-
ed very much the development of andalusian society, art, culture, religion. The
Some guidelines that connect that period with the modern spanish society were
created with a particular focus on one of the topics proposed by GPD - the An-
dalusian Art and Culture. In following the extract from Andalusian History de-
“The independent Emirate Al-Andalus and later the Caliphate of Córdoba (chal-
lenging Bagdad) mark the blooming time of the Omayyade dynasty and thus the
Arab culture in Andalusia. Córdoba becomes the center and melting pot of dif-
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long succeedful period. Starting from 1031 the Caliphate disintegrates into small
Islamic reigns. Almoravids and Almohads (Berber) alternate their rulership until
the 13th Century. After the fall of Córdoba (1236) and Seville (1248) the Nasrid
Kings maintain their kingdom in Granada for two and a half centuries more. The
last Moor king Boabdil hands over the city of Granada to the Catholic Monarchs
Many aspects of Andalusian society life were affected during the Arabian period:
jares (Mauren); All the wood-carving works were made by Arabian woodcarvers.
architects. Folk songs and dressing manners changed too [26], [27].
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The story in the concept “Step to understanding” is based upon the following
big changes in Andalusian History, religion and culture. The story of transfer-
medieval times and migration nowadays. The visitor is invited to think how these
simple situations influenced the everyday life of the whole country. The specta-
tor is connected to the story, because the situation seems to be familiar to him
– he knows about the migration problems from the media. But the comparison of
this modern process to the conquest process in Arabian times seems unexpect-
ed, new and contradictory. This comparison makes him ask questions and think
why we confront these scenes from different times. Moving forward through the
story more and more elements show our intention – the metaphoric objects, that
show connections between Arabian and Spanish culture appear, like a box found
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Talking about memory some refinements of the definition of the memory could
tioned: “the past as a still open alternative (imperfect future), about which a
decision must be made - and depending on the decision, a new history will begin,
which will remember and forget other things. Memory is seen as a memory of
tion which saves the system of elaborating data from scratch every time - there-
borders story” in it´s representation of similar life aspects and situations in dif-
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serves to understand better the history and to find a connection to it. In this
case the visitor of the exhibition is like a system that is preserved of elaborat-
ing the information from scratch because it is provided with some facts linked
to something already existing in his memory. This linkage to his own experience
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The concept “Step to understanding” gives the visitor few possibilities to interact
and aimes to guide him through this process by dramaturgic narration. The group
mode interaction has to be concidered too (when the other visitors approach in
the middle of the process they don´t know what is the story about). The doubts
about visitors attention during the whole storytelling process leaded to the idea
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Self compiled plot – Step to understanding The final concept
Connection
The concept “Self compiled plot” is tailored to the structure of the museum, so
every quarter has its own meaning based upon the blueprints of GPD. The kind
means the state of mind of a time. Immaterial values like emotions and faith play
a decisive role. The awakening of the collective memory is the aim of the con-
cept.
Benefits
The etimologic meaning of a gesture is a movement which could be interpreted
as meaningful to the receiver of the information (the system) and the surround-
gesture (like the breathing gesture in the project “Draussen”[8]). The non-solv-
would reduce the extent of the target group to technical enthusiasts. Therefore
the decision of designing an extended interface with more than one front screen
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recognize this gesture much more reliably than mentioned systems. According
to F. Delsarte the gesture can bring the actor into a certain emotional state [20].
the past.
The main aspect in the concept “Self compiled plot” is storytelling. Especially
Brecht´s Epic theater on one hand and the likewise didactical approaches of the
historical Spanish theater on the other hand. To draw visitors attention with a
meaningful story, you need dramaturgy, you need to force the attention of the
visitor. The perception has to be leaded to the intrinsic value: the content. It
especially the controversial and contradictory nature of the Epic theater cre-
ates the best setting to open the perception of the visitor, draw his attention and
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Idle mode
When no visitor is using the system, it will display a rotating wheel of stills. Ran-
domly one of the stills will be zoomed to fullscreen, playing a half or one second
and zoom back to their position. When a visitor appears in front of the screen
changes functionality to
that of a progress-indicator
plot”.
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Moments of choice
bottom screen the visitor can add content plots to the framework plot and there-
fore compiles it’s own content. Multiple users can take part in this interaction.
moments of choice Everyone can
participate and
framework plot
with informative
content.
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interest, the content plots are of didactical nature. it also differs from the frame-
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Contet plot – storyboard
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Testing facility
tion visitors and how it affects the visitor. Therefore two projectors connected
to two computers are required. One of them is projecting on the wall in front of
the visitor, and the other one is projecting on the floor. A technology similar to
Alterface interface “Salto” should be applied in this case to track visitor´s move-
ments on the floor and to enable the interaction with the objects represented on
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Looking back to the workflow process – initial questions, research about ges-
deep and accurate approach to the topic. We tried to approach the designing
of the interaction system from the side of the content, dramaturgy, giving less
provided technology. We found the solution of a more natural and common used
gesture – walking, stepping on the ground. And the division of the visual area
into 2 levels – front and bottom screen – was aimed to divide clearly the inter-
action and the information area, so the visitor has a clear understanding that he
can interact on the bottom screen and the result of his interaction is visible on
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screen where we see the information (like navigation on the website), although
the input activity is performed on the keyboard and mouse. On the other hand,
getting used too. The question is, in which case the direct manipulation of the
objects on the screen is better than the manipulation through additional devices?
Maybe in some cases the clear division between the information area and the
input area helps to switch the attention and keep pureness and clearness of the
information on the main projection? At least that is what we believe and that is
the motivation why we devided the information between the main screen and the
additional screen, so the symbolic meaning of the pure and untouchable, distant
6 0/6 6
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References:
NarrativeSpaces.pdf, p.10
[2] Recognizing gestures: Interface design beyond point and click http://www.
w3c.org/ TR/1999/REC-html401-19991224/loose.dtd
Gesture.pdf
ivrea.it/en/gallery/collabolla/index.asp
thema/metaworx/diplom-03-metaworx
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[10] Phidgets: Easy Development of Physical Interfaces through Physical Widgets,
Phidgets.UIST/phidgets-uist-2001.pdf
NarrativeSpaces.pdf, p.10
publications.html, p.3
[17] http://www.uni-essen.de/literaturwissenschaft-aktiv/Vorlesungen/dramatik/
freytagdra.htm
R.Lauer-1/Brecht.html
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[19] Heinz Kindermann, Theatergeschichte Europas I Band, Spanisches Theater,
jstor.org/sici
A5133151
http://www.isi.edu/~marsella/Delsarte_CameraReady.pdf
[23] http://www.deutsches-filmhaus.de/filme_einzeln/sch_einzeln/schloendorff/
baal.htm
NarrativeSpaces.pdf, p.6
[26] K. Jörg Ruhl, Spanische und portugiesische Berichte zum Nachschlagen 1986
6 4 /6 6
[27] Wilhelm Giese, die Kultur Spaniens, Portugals und Iberoamericas, Frankfurt
musicbottles/
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self compiled plot – step to understanding
prof. p. heidkamp
w s 07/0 8
kisd