Designing socio-technical systems for rural areas requires empowering local actors to actively engage in a creative process that thoroughly considers the unique characteristics of these territories. Methods intended for urban contexts often fail to account for rural communities’ specific values, cultures, and needs. Furthermore, the focus is usually on the design of the digital part of the innovation, its requirements, and technological constraints, leaving out other essential enablers. To address this, we present a toolkit designed to boost reflection on the key ‘'ingredients'’ — social, economic, technological, political, and infrastructural — essential for addressing rural challenges through socio-technical interventions. The toolkit offers tangible, user-friendly resources that encourage dialogue, self-reflection, and the creative envisioning of rural transformations. It includes inspirational cardsas well asreflectionquestionsto support communities in evaluating their needs, resources, and aspirations, fosteringself-awareness, learning, andaction.

This paper presents an authoring environment, which supports cultural heritage professionals in the process of creating and deploying a wide range of different personalised interactive experiences that combine the physical (objects, collection and spaces) and the digital (multimedia content). It is based on a novel flexible formalism that represents the content and the context as independent from one another and allows recombining them in multiple ways thus generating many different interactions from the same elements. The authoring environment was developed in a co-design process with heritage stakeholders and addresses the composition of the content, the definition of the personalisation, and the deployment on a physical configuration of bespoke devices. To simplify the editing while maintaining a powerful representation, the complex creation process is deconstructed into a limited number of elements and phases, including aspects to control personalisation both in content and in interaction. The user interface also includes examples of installations for inspiration and as a means for learning what is possible and how to do it. Throughout the paper, installations in public exhibitions are used to illustrate our points and what our authoring environment can produce. The expressiveness of the formalism and the variety of interactive experiences that could be created was assessed via a range of laboratory tests, while a user-centred evaluation with over 40 cultural heritage professionals assessed whether they feel confident in directly controlling personalisation.

Shaping personalisation in a scenario of tangible, embedded and embodied interaction for cultural heritage involves challenges that go well beyond the requirements of implementing content personalisation for portable mobile guides. Content is coupled with the physical experience of the objects, the space, and the facets of the context—being those personal or social—acquire a more prominent role. This paper presents a personalisation framework to support complex scenarios that combine the physical, the digital, and the social dimensions of a visit. It is based on our experience of collaborating with curators and museum experts to understand and shape personalisation in a way that is meaningful to them and to visitors alike, that is sustainable to implement, and effective in managing the complexity of context-awareness. The proposed approach features a decomposition of personalisation into multiple layers of complexity that involve a blend of customisation on the visitor's initiative or according to the visitor's profile, system context-awareness, and automatic adaptivity computed by the system based on the visitor's behaviour model. We use a number of case studies of implemented exhibitions where this approach was used to illustrate its many facets and how adaptive techniques can be effectively complemented with interaction design, rich narratives and visitors’ choice to create deeply personal experiences. Overarching reflections spanning case studies and prototypes provide evidence of the viability of the proposed framework, and illustrate the final effect of the user experience.

It is of paramount importance that cultural heritage professionals are directly involved in the design of digitally augmented experiences in their museum spaces. We propose an approach based on a catalogue of reusable narrative and interaction strategies with step-by-step instructions on how to adapt and instantiate them for a specific museum and type of visitors. This work is conducted in the context of the European-funded project meSch.

We use design research to explore ways in which tangible and embodied interaction can be used to create novel experiences of heritage. We identified five design principles and used them to frame the challenge. In collaboration with curators, we co-created an interactive multi-narrative soundscape for the remains of trenches and a fortified camp from World War I. The soundscape is activated by presence and the use of a bespoke device. The design intertwines technology and historical content in context to augment the visitors' experience of the place in an evocative, personal way. The field trial showed that experimenting with different forms is key, as they have an impact on visitors' expectations beyond what they experience directly. It also showed the value in simultaneously designing interaction and content to achieve an effect that goes beyond the contribution of the single components.

The domestic environment is more than a place where to live. It is a territory of meaning, a place where pleasure, affect and aesthetics are deeply interwoven with the functional and utilitarian dimensions. With the aging process, the home is progressively invested with new meanings and functions, and becomes the emotional center of older people's life.

Xface is a set of open source tools for creation of embodied conversational agents (ECAs) using MPEG4 and keyframe based rendering driven by SMIL-Agent scripting language. Xface Toolkit, coupled with SMIL-Agent scripting serves as a full 3D facial animation authoring package. Xface project is initiated by Cognitive and Communication Technologies (TCC) division of FBK-irst (formerly ITC-irst). The toolkit is written in ANSI C++, and is open source and platform independent.

Synthetic characters are an effective modality to convey messages to the user, provide visual feedback about the system internal understanding of the communication, and engage the user in the dialogue through emotional involvement. In this paper we argue for a fine-grain distinction of the expressive capabilities of synthetic agents: avatars should not be considered as an indivisible modality but as the synergic contribution of different communication channels that, properly synchronized, generate an overall communication performance. In this view, we propose SMIL-AGENT as a representation and scripting language for synthetic characters, which abstracts away from the specific implementation and context of use of the character. SMIL-AGENT has been defined starting from SMIL 0.1 standard specification and aims at providing a high-level standardized language for presentations by different synthetic agents within diverse communication and application contexts.

Museum visitors can continue interacting with museum exhibits even after they have left the museum. We can help them do this by creating a report that includes a basic, personalized narration of their visit, the items and relationships they found most interesting, pointers to additional related online information, and suggestions for future visits to the current and other museums. In this work we describe the automatic generation of personalized natural language reports to help create one episode in an ongoing coherent sequence of cultural activities.