Papers: What are the next-gen interfaces?

Saturday, April 06, 2019: 11:00am - 12:30pm
Back Bay CD

Chair: Corey Timpson

Being there: creating inclusive and accessible solutions for immersive digital experiences.
- Brigitte Beaulne-Syp, Virtual Museum of Canada, Canada, Sina Bahram, Prime Access Consulting, Inc., USA
"Fabienne Théoret, an Anishinabe from Lac-Simon, Québec, is talking to you in front of her house. She invites you to her grandfather’s birthday. On your desktop, you can click around her. On your mobile, you can use the accelerometer. Little kids run around you. Their laughter surrounds you….it’s as if you’re actually in the room with them." Described above is the uniquely engaging nature of la Biota Rouge vif’s “Hanging Out,” an upcoming online virtual exhibit centered around 25 spherical 360-degree videos. As we will discuss, the participatory nature of the 360-degree video format gives users an outstanding digital experience, accessible from desktop and on mobile, and creates the feeling of participating in a story, a space, or a lands

Designing a "no interface" audio walk

- Edith Terte, IT University of Copenhagen, Denmark, Anders Sundnes Løvlie, IT University of Copenhagen, Denmark
Audio-based locative media can be used to offer create audio guide-like experiences in public spaces. However, such experiences raise concerns that the mobile device may take too much of the user's attention, resulting in visitors focusing only on their mobile screens. This paper presents a design which follows the principle "the best interface is no interface," in order to facilitate "attentional balance" between digital content and physical surroundings. User tests demonstrate that the absence of a visual interface allows users to ignore their mobile screens and navigate simply using the audio while observing their surroundings.

Art in Rich-Prospect: Evaluating Next-Generation User Interfaces for Cultural Heritage
- Christopher Morse, University of Luxembourg, Luxembourg
The present study reports on the user experience (UX) of rich-prospect browsing, an emerging interface design trend for digital cultural heritage. Moreover, it describes the results of user testing for three different arts and culture collections that make use of rich-prospect. The study recruited 30 participants of varying ages, nationalities, and museum visiting habits to discuss their museum experiences and test three different applications: Coins, Curator Table, and Museum of the World. The results of the study provide insights into the user experience of a new browsing medium and reveal the information-seeking habits and patterns that occurred within these information environments.