Museums increasingly deploy new technologies to enhance visitors' experience of their exhibitions. They primarily rely on touch-screen computer systems, PDAs and digital audio-guides. Tate Britain recently employed two innovative systems in one of their major exhibitions of John Constable's work; a gestural interface and a touch-screen panel, both connected to large projection screens. This paper reports on the analysis of video-recordings and field observations of visitors' action and interaction. It explores how people interact with and around the systems, how they configure the space around the installation and how they examine and discover their properties. It suggests that designers of interfaces and installations developed for museum exhibitions face particular challenges, such as the transparency of the relationship between people's actions and the system' response, the provision of opportunities for individual and collaborative experiences and the interweaving of technological and aesthetic experiences.

It is increasingly recognized that social interaction and collaboration rely on the participants' abilities to access and use a range of resources including objects and artifacts from within the immediate environment. In recent years, system support for remote collaboration has begun to address this issue, and we have witnessed the emergence of a number of technologies designed to provide remote participants with access to (features of) each others' environment. In this article we examine the use of one such system, an innovative mixed media environment designed to enable participants to refer to and point at objects and artifacts within each other's remote environment. The article addresses the ways in which participants use the system to undertake various collaborative activities and discusses the problems and issues that emerge, for the participants' themselves, in coordinating action with and through objects. We then consider these issues with regard to interaction and collaboration in more conventional environments such as work settings, and we discuss the ways in which the interpretation and production of action are inextricably embedded within the immediate environment, an environment of action that is inadvertently fractured in even this more sophisticated media space.

This paper examines the use of an interactive artwork that was designed by members of the research team and exhibited at the Sculpture, Objects and Functional Art (SOFA) Exposition in Chicago, USA. The paper uses audio-visual recordings of interaction with and around the work to consider how people encounter and make sense of an assembly of traditional objects and video technologies. The analysis of action and interaction is used to develop a series of 'design sensitivities' to inform the development of technological assemblies to engender informal interaction and sociability in museums and galleries.

This paper explores and evaluates the support for object-focused interaction provided by a desktop Collaborative Virtual Environment. An experimental “design” task was conducted, and video recordings of the participants' activities facilitated an observational analysis of interaction in, and through, the virtual world. Observations include: problems due to “fragmented” views of embodiments in relation to shared objects; participants compensating with spoken accounts of their actions; and difficulties in understanding others' perspectives. Implications and proposals for the design of CVEs drawn from these observations are: the use of semidistorted views to support peripheral awareness; more explicit or exaggerated representations of actions than are provided by pseudohumanoid avatars; and navigation techniques that are sensitive to the actions of others. The paper also presents some examples of the ways in which these proposals might be realized.

This paper explores interfaces to virtual environments supporting multiple users. An interface to an environment allowing interaction with virtual artefacts is constructed, drawing on previous proposals for 'desktop' virtual environments. These include the use of Peripheral Lenses to support peripheral awareness in collaboration; and extending the ways in which users' actions are represented for each other. Through a qualitative analysis of a design task, the effect of the proposals is outlined. Observations indicate that, whilst these designs go some way to re-constructing physical co-presence in terms of awareness and interaction through the environment, some issues remain. Notably, peripheral distortion in supporting awareness may cause problematic interactions with and through the virtual world; and extended representations of actions may still allow problems in re-assembling the composition of others' actions. We discuss the potential for: designing representations for distorted peripheral perception; and explicitly displaying the course of action in object-focused interaction.

~s paper explores and evaluates the support for objectfocused cotiaboration provided by a destiop CoUaborative Virtual Environment me system was usd to support an experimental 'design' task.Video recordings of the participants' activities factitated an observationrd analysis of interaction in, and through, the virtual world.Observations include problems due to tigmented views of embodiments in relation to shared objects; participants compensating with spoken accounts of their actions; and difficulties in understanding otiers' perspectives.Design impXcations include: more expficit representations of actions than are provided by pseudo-humanoid embodiments; and navigation techniques that are sensitive to the actions of others.