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In this chapter we present the Zones-of-Influence Framework, a software solution for enabling spatial awareness of autonomous embedded systems. It is based on the concepts presented in previous chapters, in particular the qualitative abstraction of spatial relations and the rule-based reasoning about them, and has been designed to facilitate the development of spatially aware applications for autonomous and spontaneously interacting systems. First, Section 6.1 presents design considerations for and an overview of the framework architecture, which has been developed with flexibility, modularity, efficiency and scalability in mind. It is split into components for the discovery of artifacts and the exchange of self-descriptions with them, the maintenance of a Zones-of-Influence model with the spatial properties of discovered artifacts, the application-dependent recognition and qualitative abstraction of spatial relations as well as the rule-based reasoning about qualitative relations over time in order to infer new relations or trigger according applicationlevel actions. An overview of these components – which provide spatial awareness to the application level – is given in Section 6.2, including a detailed description of their interfaces and relevant implementation-specific issues. The results of performance tests are presented in Section 6.3, which have been carried out in order to evaluate the runtime efficiency and scalability of the framework implementation; a qualitative evaluation by means of multiple application scenarios will be given afterwards in Chapter 7. Finally, Section 6.4 discusses features and properties of the framework and identifies open issues for future work. The development of the Zones-of-Influence Framework architecture and its implementation have been conducted in an industrial research project [FDE+08] with Siemens AG Germany.

The progress of the Internet in recent years has led to the emergence of so-called social software. This technology concedes users a more active role in creating Web content. This has important effects both on individual learning and collaborative knowledge building. In this paper we will present an integrative framework model to describe and explain learning and knowledge building with social software on the basis of systems theoretical and equilibration theoretical considerations. This model assumes that knowledge progress emerges from cognitive conflicts that result from incongruities between an individual's prior knowledge and the information which is contained in a shared digital artifact. This paper will provide empirical support for the model by applying it to Wikipedia articles and by examining knowledge-building processes using network analyses. Finally, this paper will present a review of a series of experimental studies.

Reasoning about perceived context information is fundamental for autonomous systems to draw conclusions about their spatial contexts and adapt to changing situations at runtime. According to our focus on qualitative spatial relations, this chapter builds on the qualitative abstractions presented in Chapter 3 and is concerned with inferring new from known relations. In Section 4.1, we first give an overview of approaches for qualitative spatial reasoning, with a focus on binary relations and their properties as well as compositional reasoning about them. In Section 4.2, we discuss reasoning about positional and directional relations in more detail and present composition tables for distance and orientation relations. The main part of this chapter is about an algorithm for inferring and distributing spatial relationships among autonomous digital artifacts over multiple hops, which is presented in Section 4.3 and evaluated by simulation means in Section 4.4. The general idea is that artifacts recognize spatial relations to others in their vicinity by sharing spatial context information, and infer relations to artifacts out of communication range (i.e. data cannot be exchanged directly, but just via other artifacts) by means of qualitative spatial reasoning techniques which are discussed in this chapter. In particular, the algorithm makes use of composition tables or the properties of binary relations in order to provide artifacts, which are out of communication range, with an awareness about their spatial relationships to each other. Section 4.5 eventually discusses benefits and drawbacks of the presented qualitative spatial reasoning approaches and elaborates on their use for autonomous embedded systems.

Every moment, millions of people worldwide are communicating and sharing content online. We express ourselves online to enrich existing relationships and establish new relationships that would otherwise be difficult or impossible to develop offline. Such actions are reflected in a corresponding set of digital social artifacts, such as blog posts, emails and status updates. We are accustomed to thinking of collections of digital artifacts online as repositories of information. What if we are now searching collections of digital social artifacts that reflect people's online relationships with one another and aspects of their lives? Are standard search methods sufficient? How do we want to query such data? We contend that general queries may have both informational and social components to them. We define social queries as queries about social attributes and behaviors that identify individuals, relationships or groups exhibiting such characteristics. To develop a deeper understanding of social query, we focus on the specific task of social relationship identification. In the context of two scenarios, we examine the challenges posed by the task, review an initial realization of social relationship identification and present a way forward to address the general task.

The process behind the act of the art creation or the creation process has been the subject of much debate and research during the last fifty years at least, even thinking art and beauty has been a subject of analysis already by the ancient Greeks such were Plato or Aristotle. Even though intuitively it is a simple phenomenon, creativity or the human ability to generate innovation (new ideas, concepts, etc.) is in fact quite complex. It has been studied from the perspectives of behavioral and social psychology, cognitive science, artificial intelligence, philosophy, history, design research, digital art, and computational aesthetics, among others. In spite of many years of discussion and research there is no single, authoritative perspective or definition of creativity, i.e., there is no standardized measurement technique. Regarding the development process that supports the intellectual act of creation it is usually described as a procedure where the artist experiments the medium, explores it with one or more techniques, changing shapes, forms, appearances, where beyond time and space, he/she seeks his/her way out to a clearing, i.e., envisages a path from intention to realization. Duchamp in his lecture “The Creative Act” states the artist is never alone with his/her artwork; there is always the spectator that later on will react critically to the work of art. If the artist succeeds in transmitting his/her intentions in terms of a message, emotion or feeling to the spectator then a form of aesthetic osmosis actually takes place through the inert matter (the medium) that enabled this communication or interaction phenomenon to occur. The role of the spectator may become gradually more active by interacting with the artwork itself possibly changing or becoming a part of it [2][4]. info:eu-repo/semantics/publishedVersion

New technology enables novel ways of sharing information between health care recipients and providers. In this study, however, we found that the medical information for pregnant women in Denmark is located in a number of different places, that midwives and doctors spend a considerable amount of time administrating data, and that consultations are felt to be rather inefficient. This paper describes these problems and some solutions. We explore the idea of providing each woman with a digital artifact, called the Memory Stone. The goal is to supply them with tools to collect and review clinical and personal information concerning their pregnancies. The paper discusses: (1) the user-centered methodology for development of a personal device for health care information, (2) the design and evaluation of prototypes, and (3) critical issues concerning the introduction of novel personal ICT in a health care setting. The main focus is on the experiences and interests of the individual pregnant woman in the study. Several insights were gained into more general pervasive health care issues, including technical and ethical ones as well as safety and security concerns.

This chapter provides exemplars of the influence of digital artifacts upon cultural experiences. We argue that the associations between people and artifacts, and specifically digital artifacts, is an increasingly dense, interwoven, and pivotal aspect of everyday cultural experience. Artifacts themselves resist any stability of meaning by being continuously disassembled and reassembled into newly meaningful assemblages. Digital artifacts extend this complexity by accelerating and extending cultural relationships both temporally and geographically, resulting in a wider range of potential and actual relationships in an expansive number of contexts. Through the connections that digital artifacts hold to people, there is a continuously fluid polysemous multivocality that incorporates the multiple and expansive parameters of power, meaning, and cultural knowledge. The human ability to alter and repurpose artifacts to suit immediate and shifting needs prevents any innate definitional quality from making a “table” a table or a “blog” a blog. Purpose and meaning of an artifact is continuously defined and then redefined between individuals and across time, beyond the reach of the original designers or manufacturers.

Assuming that an interactive artifact cannot be fully understood by itself due to their increasing number, we explored how individual artifacts are related to each other and how those relationships can be investigated for further design and research implications. This study suggests a concept of ecology of artifacts to describe any implicit or explicit relationships among interactive artifacts in one's personal life. We conducted two types of studies -- personal inventory study and an ecology map study -- to explore multiple dimensions for understanding a personal ecology of artifacts. We expect the knowledge of artifact ecology would help designers and researchers in the field of HCI to create and analyze interactive artifacts considering their dynamic interplays in an increasingly ubiquitous technology environment.

Digital artifacts based on physical metaphors strongly benefit from dynamic, realtime reactive sound feedback. Making use of one integral physical model and digital implementation simultaneously for both, macroscopic, visual object behaviour and sonic feedback allows to realise scenarios not achievable in a conventional approach where sound is triggered or controlled in a one-way fashion from a macroscopic simulation. By careful consideration of possible simplifications such an integrated approach may be feasible in realtime implementation and can allow to reach higher levels of synchronicity and sensory integration.

This paper presents a duality perspective for teaching everyday software products. The concept includes didactical lenses as a means to teach students conceptual models of such digital artifacts. The duality of structure and function is proposed as a didactic category to educationally reconstruct digital artifacts from different perspectives (lenses). A comparison of teaching concepts for word processors serves to illustrate the proposed concept of duality reconstruction.

U-learning is the next step of e-learning. It focuses on exploring the potential novel learning styles in the ubiquitous environment. In out vision, the digital artifacts would become pervasive in the future ubiquitous environment. In this paper, the concept of digital artifacts and u-learning digital artifacts are given out. Two examples of u-learning digital artifacts, a ubiquitous schoolbag and a digital flash card, are presented. Moreover, a ubiquitous review system for the pupils, which adopted the ubiquitous schoolbag and the digital flash cards, are given out to illustrate our vision of ubiquitous learning. We have implemented the system and the feasibility of the system has been proved through the experiments.

Digital storage demand is growing with the increasing use of digital artifacts from media files to business documents. Regulatory frameworks ask for unaltered, durable storage of business communications. In this paper we consider the problem of getting reliable evidence of the integrity and existence of some data from a storage service even if the data is not available for reference anymore and even if the partner may be untrustworthy or malicious. Several solutions are presented, among them the first cryptographically secure approach providing evidence of the integrity of remotely stored data, without owning or transferring the complete original data.

Preserving and archiving geomatics data and atlases is a growing and unresolved problem. The Geomatics and Cartographic Research Centre at Carleton University has an ongoing interest in the more effective archiving and preservation of geospatial digital data and has actively participated in a number of forums to address this issue. The Cybercartographic Atlas of Antarctica (CAA) is a collaborative, scientific and innovative open source, open standard and interoperable distributed atlas that includes multimedia, multimodal and multisensory data. The CAA was part of an action research archival Case Study of the International Research on Permanent Authentic Records in Electronic Systems (InterPARES 2) Project. Archival issues in geomatics, the action research Case Study process, and results are discussed and reported upon in this chapter. The chapter concludes with some recommendations and reflections on preserving and archiving Internet maps. The central argument is that today’s Internet mapmakers and cartographers must include preservation strategies at the point of creation not after the fact to ensure that their digital artifacts will be available to tomorrow’s users. If this is not done effectively much of our digital mapping heritage will continue to be lost.

Publisher Summary This chapter explores the legal regulatory and discusses some of the requirements or limitations that may govern the access, preservation, collection, and movement of data and digital artifacts uncovered during Malware forensic investigations. Digital investigators, unlike security vendors, researchers, and academics, often wade through a different legal and regulatory landscape when conducting Malware analysis for investigative purposes, particularly where a corporate or individual victim's pursuit of a civil or criminal remedy serves the ultimate end game. The goal provided is assistance in thinking about how best to gather Malware forensic evidence in a way that is reliable, repeatable, and ultimately admissible. Because the legal and regulatory landscape surrounding sound methodologies and best practices is admittedly complicated and often unclear, one should identify and retain appropriate legal counsel and obtain necessary legal advice before conducting any Malware forensic investigation. Framing and re-framing investigative objectives and goals early and often remain the keys to any successful investigation.

U-Learning has emerged with the development of UbiComp. In the precomputer era, people can only learn from surrounding environment or other people. Given a subject, it is difficult to find out the concerning learning contents in the real environment. In the era of CAI and M-Learning, people can choice to learn in the virtual world and rapidly find out the related virtual learning contents. But they still could not rapidly find the right learning contents in the real world which has confine the learner's learning practice. U-Learning, by making use of digital artifacts in the ubiquitous environment, has provided the possibility for a learner to learn from more extensive learning contents including both of the virtual contents and real contents, and bridge the virtual and real contents seamlessly. In such a system, people learn not only from books or web pages, but also they can explore their knowledge in the real world as well. In this paper, the architecture of a ubiquitous query and answer system for pupils is presented to show the possibility of integration of searching and providing real and virtual learning contents in a ubiquitous environment. And a matching algorithm is proposed for find out the proper learning contents by matching the learning contents database with the ubiquitous learning environment database. Finally, the scene of learning by such a system is shown through a concrete example.

We introduce AR-Jig, a new handheld tangible user interface for 3D digital modeling in augmented reality (AR) space. AR-Jig has a pin array that displays a 2D physical curve coincident with a contour of a digitally displayed 3D form. It supports physical interaction with a portion of a 3D digital representation, allowing 3D forms to be directly touched and modified. Traditional tangible user interfaces physically embody all the data; in contrast, this project leaves the majority of the data in the digital domain but gives physicality to any portion of the larger digital dataset via a handheld tool. This tangible intersection enables the flexible manipulation of digital artifacts, both physically and virtually. Through an informal test by end-users and interviews with professionals, we confirmed the potential of the AR-Jig concept while identifying the improvements necessary to make AR-Jig a practical tool for 3D digital design.

Digital artifacts or "artistic applications" as they are usually called, aim at displaying information content by materializing concepts in a digital format. In this article the author explains about the concepts and definitions behind digital art and the technological issues related to artistic and cultural heritage applications. Artistic creation begins with a concept or an abstract idea, which is gradually modeled into a form of tangible or intangible digital content that can be both the means and the end product. Digital artists consider computer technology as a way to enhance creativity and as a final artifact. The dual manifestation of artistic and cultural heritage applications results in workflow that differs for each application class. Application constraints identification is one of the most important but often undervalued issues in digital art creation. Displacement is an interactive installation applying augmented reality technology.

The growing ubiquity of computer processing power, storage and bandwidth has helped stimulate increased interest in computer-mediated interaction in recent years. Concurrently, many technological solutions to essentially human problems are maturing to the point where their higher socio-psychological context is becoming the limiting factor. An example of this is real time collaboration between remote team members, where new telepresence and groupware solutions continue to close the gap between remote and co-located collaboration. Here, an improved understanding of what types of cues are critical to preserve common ground, the coupling of work, and awareness between remote sites is still fundamentally required. In the HxI Initiative we are investigating, designing, developing, and evaluating Human Computer Interaction, Human Human Interaction, and Human Information Interaction for distributed teams of teams who are intensely collaborating. The mixture of co-located and remote interaction in social communication as well as interaction with a shared digital artifact provides complex research challenges in areas which address particular interaction issues such as multiple cursor support, mixed-presence communication, and action-communication disparities. We present the research platform [braccetto] that we designed as an enabler for the investigations of the above research challenges. The hardware design and setup discussed in this paper are the result of careful requirements engineering and design discussions for rapidly composable and adaptable telepresence workstations for distributed, intensely collaborating teams of teams. We also present underlying software services and components as enablers for telepresence and groupware capabilities that are deployed in our application domains.

Digital design materials are temporal as much as they are spatial, which means that specific concepts are needed for understanding the use experiences of digital artifacts and the aesthetics of interaction design. In this paper, the quality of pliability is introduced to characterize the degree to which interaction feels involving, malleable, and tightly coupled – and hence to what degree it facilitates exploration and serendipity in use. Three sets of contrasting artifact examples from different domains (online maps, digital-image management, and online thesauri) are analyzed with regard to pliability. It is argued that the use of everyday digital products, normally perceived as instrumental and utility oriented, has an important experiential-aesthetic dimension consisting of temporal and visuo-tactile qualities (including pliability). The paper concludes with a discussion of related work and the role of experiential qualities in interaction design.

Many attempts to bridge the digital divide between lesser-developed countries (LDC) through Information & Communication Technology (ICT) projects have had little success. With the concurrent rise in number of ICT projects in rural areas, the current situation calls for better design. However, it is our claim that the nature of villages.being devoid of digital artifacts.requires much of HCI theory and methodologies to be re-examined. HCI theory has evolved in urban environments over the past 30 years and may not be suitable for the village environment. However, Activity Theory lends itself well to these environments as its primary focus is on pre-existing activities and goals rather than digital artifacts themselves. Using this theory as basis, we examine past failures and successes of ICT interventions. From this examination we intend to derive a practical framework for guiding future HCI-design (HCID) in the developing world.

Even with the introduction of computer technology, paper-based artifacts remain ubiquitous in hospital settings. The need to manually transfer and update information from the physical to the digital realm is a common practice among hospital staff, which, although usually well managed, at times becomes a source for errors and inconsistencies. This paper presents an augmented patient chart system that preserves the use of paper and allows capturing information directly to the system through the use of a digital pen. An evaluation of the system with 22 volunteers indicates a significant reduction in the number of errors while reading information, a significant increment on the accuracy while annotating data, as well as a trend towards less time spent while annotating data on the digital paper. Based on our results, we argue that the design preserves the advantages associated with paper while increasing the availability of information and its trustworthiness.

Education in architecture requires access to a broad range of architectural learning material to develop flexibility and creativity in design. The learning material is compromised of digital information captured in textual and visual media including single images, videos, description of architectural concepts or complete architectural projects, i.e. digital artifacts on different aggregation levels. The repositories storing such information are not interrelated and do not provide unified access so that retrieval of architectural learning objects is cumbersome and time consuming. In this paper, we describe how an infrastructure of federated architectural learning repositories will provide unique, integrated access facilities for high quality architectural content. The integration of various types of content, usage, social and contextual metadata enables users to develop multiple perspectives and navigation paths that support experience multiplication for the user. A service– oriented software architecture that is based on open standards, and a flexible user interface design solutions based on widgets ensure easy integration and re- combinability of contents, metadata and functionalities.

This article focuses on two interconnected problems posed by the growth of online creation. First, unlike analog creations, important digital creations such as emails are mediated and controlled by second parties. Thus although these creations are core intellectual property, they are not treated as such and service providers terminate or deny access to people's property all the time. In addition, when one dies, some service providers refuse to grant heirs access to this property. The uneven and unclear management of these creations means that historians and society in general will lose access to perhaps the greatest chronicling of human experience ever. Put simply, online creation and storage raise fundamental issues regarding the ownership of, dominion over, and preservation of digital property; yet the theoretical basis regarding these issues is unclear. Accordingly, this paper investigates and sets forth the theoretical foundations to explain why and how society should preserve this property. Once the importance of preserving digital artifacts is understood, a familiar problem arises: what normative theory justifies the amount of control the creator or her heirs is given? As such, Part II examines the property, persona, and publicity arguments that the creation of artifacts raise. The paper shows that several theoretical views support the position that in life one has strong economic and non-economic claims for control over one's intangible creations. Yet, the paper finds that historical and literary theory in conjunction with recent economic arguments of Professors Brett Frischmann and Mark Lemley regarding positive externalities generated by access to ideas and information, militate in favor of limits on heirs' control over these creations. Furthermore, insofar as society provides the building blocks from which these creations arise, all the theories show that creations must at some point become part of the commons to enable others to generate new creations. Thus the paper argues against the growth of trademark or trademark-like author's rights which have no temporal limit and offer heirs extreme control over access to and use of an author's work and seeks to balance the interests of creators with society's interest in fostering later expression and creation of new works.

This project looked at anonymity of input across a series of classroom activities seeking to answer three research questions. First, did activity type influence students' use of anonymity? Second, did activity type influence students' perception of the utility of anonymity? Finally, did student statements about the use and utility of anonymity match their actions? Analysis of the digital artifacts revealed no significant differences for use of names by activity or gender. Females more frequently made comments about wanting to be confident of their answers before they would attach their names. Males much more frequently expressed that anonymity was not important to them. Yet the use of names by the two groups across activities was virtually identical. Both groups had a use of names across all activities of approximately 60%.

The presence of artifacts on the high definition television (TV) content and the eventual loss of the digital TV signals to rain is still a major concern to satellite operators, digital satellite television (DSTV) and terrestrial television content providers. In this paper, the artifacts present in a typical DSTV signal is examined on a practical direct-to-home (DTH) link at Osun State University, Osogbo, Nigeria (7.77°N, 4.60°E), received via EUTELSAT W4/W7 at 12.245 GHz. The degrading effect is assessed using a subjective experimental approach, which is based on the quantification of the artifacts ruining user’s Quality of Experience (QoE) during rainfall events. Results indicate that the thunderstorm rainfall is accountable for the impairment, while pixilation was observed as a dominant artifact appearing before the loss and shortly at the recovery of the DSTV signal. http://dx.doi.org/10.4314/njt.v34i4.19

Modularity of socio-technical assemblages is a central theme in organization and technology dynamics. Modularity has been mainly discussed in the context of design and production of products and te...

Inter-networked computers enable virtual collaborative work. In the course of interacting with one another, individuals send and receive messages and files of various sorts. This may be done within specialized collaborative work environments, or by simply employing a combination of different communication tools and applications. In the course of doing their work, collaborators perform different actions that create and/or otherwise manipulate digital artifacts that are related to different aspects of their collaboration. Social network analysis is used to develop a fuller understanding of interactions between people. We describe a software prototype of a tool that automatically measures and analyzes aspects of collaboration developing visualizations of likely social interactions. In this paper we describe the system, some early results, and several different possible applications of the technology., The Third International Conference on Cooperative Design, Visuallization and Engineering (CDVE 2006), September 17-20, 2006, Palma de Mallorca, Spain

This essay explores changes in concepts of realism and spectatorship in the digital age. With digital technology, images no longer bear witness to reality in the same way envisioned by theorists such as Andre Bazin, and a new model of spectatorship must follow this loss of indexicality. The digital rotoscoping technique employed in Richard Linklater's /Waking Life/demonstrates this split between reality and image, in part by preserving the real beneath an entirely created artistic surface. http://dx.doi.org/10.5007/2175-8026.2006n51p301This essay explores changes in concepts of realism and spectatorship in the digital age. With digital technology, images no longer bear witness to reality in the same way envisioned by theorists such as Andre Bazin, and a new model of spectatorship must follow this loss of indexicality. The digital rotoscoping technique employed in Richard Linklater's /Waking Life/demonstrates this split between reality and image, in part by preserving the real beneath an entirely created artistic surface.

Programmers use both paper and digital artifacts to aid in the process of software planning. This paper presents a prototype of a system that uses digital pen technology to integrate paper notecards and digital task plan representations, allowing programmers to utilize the affordances provided by both techniques. Through an ethnography of programmers who practice planning using both physical and digital artifacts, we discovered common actions performed by the programmers included card creation, card augmentation, card combining, and scheduling of card for completion. We designed interaction techniques to facilitate these actions and conducted a usability study (n=10) to evaluate the techniques. Through the study, we discovered that the initial prototype provided both positive and negative experiences for the user, providing insightful design implications for the future.

I use the term "collaborative", to identify a way that enables conversation to occur in, about, and around the digital medium, therefore making the "digital artifacts" contributed by all individuals a key element of a conversation as opposed to consecutive, linear presentations used by most faculty at the Design School.Installations of collaborative multimedia in classrooms at the Harvard University Graduate School of Design show an enhancement of the learning process via shared access to media resources and enhanced spatial conditions within which these resources are engaged. Through observation and controlled experiments I am investigating how the use of shared, collaborative interfaces for interaction with multiple displays in a co-local environment enhances the learning process. The multiple spatial configurations and formats of learning mandate that with more effective interfaces and spaces for sharing digital media with fellow participants, the classroom can be used much more effectively and thus, learning and interaction with multimedia can be improved.

Aiming at providing user-friendly means for exchange of digital artifacts, this paper presents a language-generation mechanism that allows graphical data-encoding languages and schemas to be specified and automatically generated. The generated language environments can automatically verify the syntactical structure of any constructed digital artifacts and, when translation specifications are provided, automatically translate a source artifact expressed in one encoding language or schema to its equivalent in another language or schema.

The advent of the Web and the information economy has changed the requirements for learning in the workplace and higher education. To deal with ill-structured, amorphous information, learners need to become self-organized learners capable of identifying both content and process of own learning. Engagement in the learning conversations of self-organized learning requires methods for representing information spontaneously as well as organizing information within a meaningful structure. In this chapter, we identify the role of the emerging practices of Weblog authoring and concept mapping in supporting knowledge construction and meaning-making in amorphous domains. We indicate how the structure and practices of Weblog authoring support construction of a personal repository of information as well as ability to engage in shared dialogue about artifacts. We then identify the facilitatory role of concept mapping in organizing knowledge, and conclude with suggestions for visual mapping tools to support seamless integration of information archival and mapping.

The techniques for organizing and retrieving the artifacts from digital libraries (DLs) semantically are discussed, which include letting the taxonomies and semantic relations work in tandem to index the artifacts in DLs; integrating the techniques used in natural language processing and taxonomies to help users to start their retrieval processes; and ranking scientific papers on similarity in terms of contents or ranking the relevant papers on multi-factors. These techniques are verified through the design and implementation of a prototype of DLs for scientific paper management.

Increasingly heritage institutions are making digital artifacts available to the general public and research groups to promote the active exploration of heritage and encourage visits to heritage sites. Stories, such as folklore and first person accounts form a useful and engaging heritage resource for this purpose. Story Fountain provides intelligent support for the exploration of digital stories. The suite of functions provided in Story Fountain together support the investigation of questions and topics that require the accumulation, association or induction of information across the story archive. Story Fountain provides specific support toward this end such as for comparing and contrasting story concepts, the presentation of story paths between concepts, and mapping stories and events according to properties such as who met whom and who lived where.

Controsenso means contradiction or counter-sense and alludes to the idea, only apparently strange, to have a blind person as your guide through their home town. Controsenso: Genoa as you have never seen it, is a virtual tour of the city of Genoa to reveal in poetry the everyday life experience of seeing-impaired people. The choice is story telling through sound and images of what blind people see and perceive of their city. It conveys strong feelings in terms of noises, smells, lights and shadows, and pavement and walls textures. These represent known objects, places, people and shops: the thousands of details that go unseen at a conscious level for most of us.

As part of a long-term investigation into visualizing email, we have created two visualizations of email archives. One highlights social networks while the other depicts the temporal rhythms of interactions with individuals. While interviewing users of these systems, it became clear that the applications triggered recall of many personal events. One of the most striking and not entirely expected outcomes was that the visualizations motivated retelling stories from the users' pasts to others. In this paper, we discuss the motivation and design of these projects and analyze their use as catalysts for personal narrative and recall.

We have produced a system that automatically incorporates syndicated materials from sources including library acquisition records and online news sites to form growing hypertextual structures. This system enables users to create personal and shared collections built atop a growing substrate. It also seeks to empower users through the use of information filters to create dynamic personal collections that can themselves grow over time to include materials as they appear within the underlying collection. In addition, we are investigating particular benefits of intersecting hypertextual paths as a useful structure for representing such sub-collections and the resources extracted from the feeds themselves. We present our prototype system, the emerging standards for syndicating online content, and a discussion of the importance of supporting growth within digital libraries generally.

The production of geological mapping by conventional processes is a complex work of data gathering and integration, along with expert and team analysis. This process is very time consuming, since it implies several expeditions to the study location. In the organization studied by this paper, this process can take several years to be completed. The objective of this project is to build a remote collaborative system that supports information sharing by the teams that participate in geological data gathering. The developed system integrates several tools for information sharing and geological/topographical data referencing, as well as support to group discussion and decision. The integration of these tools makes up a geo-collaborative system. The development of this system was done in the context of the Portuguese Geological and Mining Institute (IGM). The evaluation of the prototype by 30 experts from IGM revealed that the proposed goals were accomplished: the system was considered better than the conventional approach.

In this paper we describe a user study designed to understand current practices for recording and utilizing information in everyday life. We describe a subset of the results that suggest that improving on current practices will require physical and digital artifacts, flexibility, multi-modality, and ubiquity.

In this paper, I describe the design of a collection review policy for the Digital Library for Earth System Education (DLESE). A distinctive feature of DLESE as a digital library is the “DLESE community”, composed of voluntary members who contribute metadata and resource reviews to DLESE. As the DLESE community is open, the question of how to evaluate community contributions is a crucial part of the review policy design process. In this paper, technological frames theory is used to analyse this design process by looking at how the designers work with two differing definitions of the “peer reviewer”, (a) peer reviewer as arbiter or editor, and (b) peer reviewer as colleague. Content analysis of DLESE documents shows that these frames can in turn be related to two definitions that DLESE offers of itself: DLESE as a library, and DLESE as a digital artifact. The implications of the presence of divergent technological frames for the design process are summarised, and some suggestions for future research are outlined.

Similar to a conventional museum, a digital museum draws a set of objects from its collection of digital artifacts to produce exhibitions about a specific topic. Online exhibitions often consist of a variety of multimedia objects such as webpages, animation, and video clips. In a physical museum, the exhibition is confined by the physical limitation of the artifacts. That is, there can only be one exhibition using the same set of artifacts. Thus, if one wishes to design different exhibitions about the same topic for different user groups, one has to use different sets of artifacts, and exhibit them in different physical locations. A digital museum does not have such physical restrictions. One can design different exhibitions about the same topic for adults, children, experts, novices, high bandwidth users, and low bandwidth users, all using the same set of digital artifacts. A user can simply click and choose the specific style of exhibition that she wants to explore. The difficulty here is that it is time-consuming to produce illustrative and intriguing online exhibitions. One can spend hours designing webpages for just one exhibition alone, not to mention several. In this paper, we present the design of an XSL-based Multi-Presentation Content Management System (XMP-CMS). This framework is a novel approach for organizing digital collections, and for quickly selecting, integrating, and composing objects from the collection to produce exhibitions of different presentation styles, one for each user group. A prototype based on our framework has been implemented and successfully used in the production of a Lanyu digital museum. Using our method, the Lanyu Digital Museum online exhibition has several features: (1) It provides an easy way to compose artifacts extracted from the digital collection into exhibitions. (2) It provides an easy way to create different presentations of the same exhibition content that are catered to users with different needs. (3) It provides easy-to-use film-editing capability to re-arrange an exhibition and to produce new exhibitions from existing ones.

Systematic mechanisms for capturing and exploring lineage information of digital artifacts are at the heart of a new field of research called computational provenance. This special issue aims to raise awareness and contribute to a better understanding of the issues surrounding computational provenance to the broader CiSE community.

Camera images are amenable for manipulations by varied manageability's and manovorabilities for desperate purposes in the crime scenario. The invention of advanced and modern techniques of reproduction such as photocopiers, scanners have led to the prolifera- tion of original images available in original documents in one form or the other and consequently morphed images are entering in to the court rooms as evidences. Such instances are alarmingly increasing as the functionalities of image editing soft-wares allow an amateur to easily manipulate images. In some cases, they may be in the threshold of the requirements of a legal duplicate. In this paper, a case study of unearthing of such an entry of morphed images into court room in an attempt to derail justice is discussed. A technical approach evolved to detect digital alteration using image processing software Adobe Photoshop. The finding reveals that inconsistencies among the original and scanned images and their infringements have caused distortion. Experimental results demonstrate that scanned images are morphed . Keywords- scanner, signature, image analysis, adobe Photoshop.

Studies have shown the knowledge transfer problems that arise when communication and storage technologies are employed to accomplish work across time and space. Much less is known about knowledge transfer problems associated with transformational technologies, which afford the creation, modification, and manipulation of digital artifacts. Yet, these technologies play a critical role in offshoring by allowing the distribution of work at the task level, what we call task-based offshoring. For example, computer-aided engineering applications transform input like physical dimensions, location coordinates, and material properties into computational models that can be shared electronically among engineers around the world as they work together on analysis tasks. Digital artifacts created via transformational technologies often embody implicit knowledge that must be correctly interpreted to successfully act upon the artifacts. To explore what problems might arise in interpreting this implicit knowledge across time and space, and how individuals might remedy these problems, we studied a firm that sent engineering tasks from home sites in Mexico and the United States to an offshore site in India. Despite having proper formal education and ample tool skills, the Indian engineers had difficulty interpreting the implicit knowledge embodied in artifacts sent to them from Mexico and the United States. To resolve and prevent the problems that subsequently arose, individuals from the home sites developed five new work practices to transfer occupational knowledge to the offshore site. The five practices were defining requirements, monitoring progress, fixing returns, routing tasks strategically, and filtering quality. The extent to which sending engineers in our study were free from having to enact these new work practices because on-site coordinators acted on their behalf predicted their perceptions of the effectiveness of the offshoring arrangement, but Indian engineers preferred learning from sending engineers, not on-site coordinators. Our study contributes to theories of knowledge transfer and has practical implications for managing task-based offshoring arrangements.

Celebrations provide a conclusion to what has gone before while preparing us for what is yet to come. They are an interruption of our routines, and they make us aware of the ways in which, most of the time, our lifeworld is strictly limited to what we expect and anticipate. Year is an attempt to explore and experience those things that we do not normally notice because we are too busy. Because abstraction simply is, it has the potential to make us see differently. Year makes use of both digital artifacts and analog processing effects to create its abstract imagery (Color Plate A No. 1). The movie explores our ability to visualize space and movement through color. Compression artifacts present us with a readymade image of interpretation and memory made visible by the technical properties of our technology. Digital signal decay is an almost inevitable consequence of working with compressed video, and the presence of these artifacts is magnified by successive generations of processing. Portions of Year were also processed with analog machinery during my residency at the Experimental Television Center in Owego, New York, allowing me to draw together more than a decade of studio experiments with color, space, motion and perception [1]. The movie can be seen in two variations, which differ in how color acts to create space: a stereoscopic version and a flat version. Which version we see

Riker (1967) has reported the results of a study in which some of his subjects divided the payoffs to coalitions in a three-person, nonzero-sum game as the solution notions of von Neumann and Morgenstern, and Aumann and Maschler, prescribe. He contrasts his findings with results I obtained in a three-person, zerosum game study (1962, 1964), where subjects frequently divided payoffs to a coalition equally. Riker also states that he obtained strong evidence that my results can be disregarded "as the artifact of particular and restrictive institutions"-the particular conditions of my study. Essentially, his argument is that the prescriptive solution notions of Aumann and Maschler are quite successful as a descriptive theory, and that the results I obtained-the equal divisions of the payoffsare idiosyncratic and result from the artificial, unrepresentative conditions of my study. Naturally, no investigator likes to see his results dismissed as an artifact, but if such is the case it is best to admit it, or at least to ignore the criticism, allowing it to stand unchallenged. Indeed, early studies in a particular area of investigation are often shown to have limitations by later, more sophisticated studies. But this does not seem to be the case at present, and Riker's remarks require some discussion. The result that he has called an artifact has been found so frequently in independent studies and is so pervasive a feature of experimental game studies, that it does not seem sensible to consider it an artifact. In variety of situations many investigators have found that subjects tend to divide payoffs evenly; these investigators include myself, Thomas Schelling (1960), Fouraker and Siegel (1960), Johnson and Cohen (1967), Vinacke and Arkoff (1957), Emerson (1964), and ironically, Riker and Niemi in an earlier study (1964). 1 But the fact that many investigators have found that subjects sometimes choose an equal division of payoffs does not, in turn, make Riker's results a mere artifact. For there are numerous studies in which subjects choose alternatives other than an equal division of payoffs. The experimental game literature is quite large, and a review of the conditions under which people choose an equal division of payoffs, and when they do not, would be a worthwhile task. But it would certainly be beyond the scope of this discussion, which will be limited to a consideration of Riker's work and my own. Hopefully this discussion will show that the differences between our findings could have occurred for a variety of reasons, that neither result can be dismissed as an artifact, and that the causes of the differences might be discovered by conducting an empirical study. The issues can be clarified by examining and discussing the different procedures employed in the two studies, and by doing more detailed analyses of our results.

"Ring-down" is an ultrasound artifact that appears as a solid streak or a series of parallel bands radiating away from abdominal gas collections. Using an in vitro system of bubbles in water or gelatin, it was found that the ring-down artifact originated from the center of a cluster of four bubbles (bubble tetrahedron), three on top and one nestled beneath. Entrapped between the bubbles is a horn- or bugle-shaped fluid collection that we theorize emits a continuous sound wave back to the transducer when struck by an ultrasound pulse. Electronic processing by the scanner converts this continuous sound wave into the series of bands seen in the ring-down artifact.