[雙語(yǔ)翻譯]--外文翻譯--文化旅游智能交互式信息展示（原文）

1、Intelligent Interactive Information Presentation for Cultural Tourism Oliviero Stock ITC-irst Via Sommarive, 18 38050 Povo TN, Italy, stock@itc.it Massimo Zancanaro ITC-irst Via Sommarive, 18 38050 Povo TN, Ita

2、ly, zancana@itc.it Abstract Cultural heritage appreciation is a privileged area of application for innovative, natural – language centred applications. In this paper we discuss some of the opportunities and challeng

3、es with a specific view of intelligent information presentation, that takes into account the user characteristics and behaviour and the context of the interaction. We make reference to the new PEACH project, ai

4、med at exploring various technologies for enhancing the visitors' experience during their actual visit to a museum. Introduction Since the second half of the Eighties, we have considered cultural heritage app

5、reciation a privileged area of application for innovative, natural–language centred applications. From the application point of view, we believe this is an area of high interest, as a) the “users” of cultural herita

6、ge increase in number at a fast pace; b) there is a natural request for a quality shift: from presentation of cultural heritage as a standard mass product, similar to supermarket goods, to a way to provide the singl

7、e person with the possibility of acquiring information and understanding on things that interests him most, and to assist his cultural development; c) the way in which the cultural experience is carried on has n

8、ot changed much for centuries; and especially the young seem to require novel modes of being exposed to the cultural material, so that they would engage and entertain them; d) for Italy and Mediterranean countries cu

9、ltural heritage can be a natural resource that fuels economy (Minghetti et al, 2002); e) human- computer interface technology can have a decisive role in providing solutions for the individual. From the research po

10、int of view in the first phase we have considered this as an opportunity for exploring ideas related to multimodal interfaces. The AlFresco System was a system that integrated language, pointing in input and languag

11、e and images in output (Stock et al, 1997). But the main aspect is that it integrated in a coherent way different interaction attitudes: the goal -oriented language based modality and the navigation-oriented hypermed

12、ia modality. Well before the web era the AlFresco generalized communication act management approach was perhaps anticipating some of the present challenges of web interaction. Subsequently we have begun working

13、on information presentation in the physical environment. This brought in a number of new issues and some constraints (see Stock, 2001). Ideas were experimented in two projects, Hyperaudio (Not et al, 1998) and t

14、he European project HIPS (Benelli et al, 1999). We shall present here some new lines of research that we are now carrying on. 1. The PEACH Project The PEACH (Personal Experience with Active Cultural Heritage) project

15、 objective is that of studying and experimenting with various advanced technologies that can enhance cultural heritage appreciation. The project, sponsored by the Trento Autonomous Province, is mainly based on

16、IRST research, with important an interesting…”. On the other hand, the system must be able to interpret the implicit intentions of the person’s movements. For example, the prolonged observation of one object may be i

17、nterpreted as a sign of interest. A system of this type will be able to take into consideration the constrains posed by the environment in accessing information (e.g. objects in an adjacent room may be far if the two

18、 rooms are not connected) emphasising the emotional impact of seeing the “real” work of art. Such a system will also be able to affect the visitor’s perception within the environment by attracting his/her attention t

19、o a particular work or detail; for instance, taking advantage of new technology such as the ability to superimpose computer-generated images to the real scene (via special transparent visors) or by generating verbal

20、 presentations based on rhetorical and persuasion-oriented strategies. In this way, the museum visit is a full-fledged interaction between the visitor and the museum itself. In order to render possible this interacti

21、on, it is necessary that the museum - in fact the underlying information system - (i) knows the physical position of the visitor (and, as much as possible, his focus of visual attention); (ii) communicates individua

22、l information on the objects under exhibition—for instance through a portable device, 3D audio, or using a special wearable device that automatically superimposes generated images to the real scene; and (iii) receiv

23、es requests from the visitor—verbally and/or through gestures. A museum of this type will not be simply reactive, limiting itself to satisfy the questions of the visitors, but will also be proactive, explicitly pro

24、viding unasked information; for instance, suggesting the visit to particularly interesting or famous objects, or allowing access to a “window” (e.g. a flat screen on the wall) that can deepen the study of the ob

25、ject under observation. Such suggestions can be made based on the observations of the person’s behaviour, for example, the route chosen by a visitor or how much time is spent in front of a work, information noted a

26、bout the user, such as age and culture, or considerations relative to the environment like rooms that are too crowded or that are temporarily closed. The system should be able to overhear the visitor’s interaction (

27、Busetta et al, 2001) and provide further suggestions on the basis of an internal model of priorities (for example, satisfying visitor’s interests, fulfilling educational goals, or, perhaps, increasing museum book

28、shop’s sales). Another important dimension is that of attracting the young and keep them hooked to the cultural experience. With children the playful attitude is essential. We are conceiving new technology- based env

29、ironments, with spoken interaction (see also the NICE project with a similar theme1), where as a side effect children will be motivated to look with attention and learn about the cultural heritage. One of the central

30、 aspect is the communication attitude. A humorous interaction is a key resource with children. The role of humor to keep attention, memorizing names and help creative thinking is well known. We are now beginning to

31、see some concrete results in modeling some processes of humour production. To this end our initial work in computational humor will find a useful terrain of experimentation here (see Stock and Strapparava, 2002)

32、. 3. The Role of Information Presentation According to (Bordegoni et al, 1997), a medium is a physical space in which perceptible entities are realized. Indeed, in a museum (as well as in a cultural city, an archaeolo

33、gical site, etc.) the most prominent medium is the environment itself. The main requirement for the presentation of information task is that of integrating the ‘physical’ experience, without competing with the origi

34、nal exhibit items for the visitor’s attention. From a multimedia point of view, this means that additional uses of the visual channel have to be carefully weighed. In this context, audio channel should play the maj

35、or role in particular for language-based presentations, although the role of non-speech audio (e.g., music or ambient sounds) should also be investigated. Yet when a visual display is available (for example a PDA o

36、r a wall-size flat screen) images on the can be used support the visitor in the orientation task (3D or 2D images can used to support linguistic reference to physical objects). In this latter case, the visual channel