[雙語翻譯]--外文翻譯--文化旅游智能交互式信息展示（節(jié)選）

1、3240 漢字， 漢字，2000 單詞， 單詞，10900 英文字符 英文字符出處： 出處：Stock O, Not E, Zancanaro M. Intelligent Interactive Information Presentation for Cultural Tourism[M]// Multimodal Intelligent Information Presentation. 2004:95-111.Intellig

2、ent Interactive Information Presentationfor Cultural TourismOliviero Stock Massimo ZancanaroAbstractCultural heritage appreciation is a privileged area of application for innovative, natural– language cent

3、red applications. In this paper we discuss some of the opportunities and challenges with a specific view of intelligent information presentation, that takes into account the user characteristics and behaviour and the c

4、ontext of the interaction. We make reference to the new PEACH project, aimed at exploring various technologies for enhancing the visitors' experience during their actual visit to a museum.IntroductionSince the seco

5、nd half of the Eighties, we have considered cultural heritage appreciation a privileged area of application for innovative, natural–language centred applications. From the application point of view, we believe this is

6、an area of high interest, as a) the “users” of cultural heritage 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,

7、similar to supermarket goods, to a way to provide the single person with the possibility of acquiring information and understanding on things that interests him most, and to assist his cultural development; c) the way

8、in which the cultural experience is carried on has not changed much for centuries; and especia lly the young seem to require novel modes of being exposed to the cultural material, so that they would engage and enterta

9、in them; d) for Italy and Mediterranean countries cultural 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 sol

10、utions for the individual.From the research point 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 integra

11、ted language, pointing in input and language 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 modal

12、ity and the navigation-oriented hypermedia modality. Well before the web era the AlFresco generalized communication act management approach was perhaps anticipating some of the present challenges of web interaction. Su

13、bsequently we have begun working 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, Hyperau

14、dio (Not et al, 1998) and the 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 ProjectThe PEACH (Personal Experience with Active Cultur

15、al Heritage) project 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 main

16、ly based on IRST research, with important contributions by the other two partners: DFKI and Giunti Multimedia. The research activity focuses on two technology mainstreams, natural interactivity (encompassing natural l

17、anguage processing, perception, image understanding, intelligent systems etc.) and micro- sensory systems. Throughout the project, synergy and integration of different research sectors will be emphasized. Two general ar

18、eas of research are highlighted: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 at

19、tracting his/her attention to 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 visor

20、s) or by generating verbal 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

21、possible this interaction, 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) c

22、ommunicates individual 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

23、; and (iii) receives 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,

24、explicitly providing 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

25、 the object 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 note

26、d about 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 bookshop’s

28、 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 environments,

29、 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 aspect is th

30、e 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 see some concre

31、te 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).3. The Role of Inform

32、ation PresentationAccording 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 archaeological site, etc.) the mos

33、t 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 original exhibit items for the vi

34、sitor’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 major role in particular for languag

35、e-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 or a wall-size flat screen) images on

36、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 is shared between the display and the

37、environment but the goal is still to provide support to environment-related tasks. From a multimodal point of view, different modalities can be employed to focus the visitor’s attention on specific objects or to stimul