63中英文雙語(yǔ)大學(xué)畢業(yè)設(shè)計(jì)外文文獻(xiàn)翻譯成品ambikraf屏風(fēng)將技術(shù)與傳統(tǒng)工藝進(jìn)行融合

1、<p>　　此文檔是畢業(yè)設(shè)計(jì)外文翻譯成品（ 含英文原文+中文翻譯），無(wú)需調(diào)整復(fù)雜的格式！下載之后直接可用，方便快捷！在淘寶上翻譯一篇外文文獻(xiàn)，至少上百元，本文價(jià)格不貴哦！</p><p>　　外文標(biāo)題：AmbiKraf Byobu: Merging Technology with Traditional Craft</p><p>　　外文作者：Roshan Lal int ha

2、 Peiris, Jeffr ey Tzu Kwan Val ino Koh, Mil i John Thar akan, Owen Noel Newt on Fer nando and Adr ian David Cheok</p><p>　　文獻(xiàn)出處:Interacting with Computers 25(2):173-182</p><p>　　英文2355單詞， 13685字

3、符，中文3702漢字。</p><p>　　AmbiKraf Byobu: Merging Technology with Traditional Craft</p><p>　　Roshan Lal int ha Peiris, Jeffr ey Tzu Kwan Val ino Koh, Mil i John Thar akan, Owen Noel Newt on Fer nando

4、 and Adr ian David Cheok</p><p>　　In this paper, we present a synergy of technology and traditional craft made possible with AmbiKraf Byobu. AmbiKraf is a non-emissive, color-changing fabric technology that

5、allows subtle animations on fabrics. Byobu is a traditional Japanese room-divider screen, usually painted by artisans and crafts people. We first discuss the organic qualities of AmbiKraf technology that particularly len

6、d itself to traditional art and craft practice. These qualities include the animation of ambient, non-intru</p><p>　　Keywords: textile; fabric; organic; interface; Byobu; interaction; animation; thermochromi

7、c; Peltier;non-emissive; display</p><p>　　1.INTRODUCTION</p><p>　　In an age where the internet and television were non-existent, often textile media were used to communicate complex mythologies,

8、 ideologies and narratives and were even used for entertainment (Campbell, 2010). Textiles and other craft media held special roles in many civilizations for passing on knowledge and were often the center of attention in

9、 the homes of yesteryears, much like a home entertainment system or family computer function as today. Likewise, in the field of interactive research, c</p><p>　　OUI’s involvement of the ergonomics of the me

10、dium into its interaction has paved the way for many common materials into become interactive platforms. As such, textiles have gained wide attention transforming the traditional role of textiles to more expressive, inte

11、ractive, etc. materials. Frameworks such as the ones outlined by organic user interfaces provide new ways of looking at fabric and textiles as interface media (Co and Pashenkov, 2008). Because OUIs stipulate that the inp

12、ut and output o</p><p>　　AmbiKraf Byobu</p><p>　　Room dividers or screens known as Byobu were an indis- pensable piece of furniture in the homes and temples of Japan from the nineth century (Gra

13、ham, 1990). These paneled free- standing screens served various purposes from being backdrops during tea ceremonies and weddings to racks for clothes and for privacy at homes. Natural landscapes were the most common pain

14、tings depicted on these screens, sometimes accompanied with a ‘waka’ poem. Being paintings, they can only evoke a sense of the passage </p><p>　　Our work explores ways in which boundaries between physical an

15、d virtual, static and dynamic, and material and immaterial can be blurred through everyday textile craft artifacts. Here, the fabric is an analog medium that combines with the contemporary digital technology (Lugmayr, 20

16、12). Thus, AmbiKraf technology enables the fabric itself to change the color. Therefore, the interaction happens on the actual fabric itself and not with any other material or display that is embedded on it. This is a &l

17、t;/p><p>　　2.BACKGROUND</p><p>　　Work on Neo Craft (Tharakan et al., 2010) uncovers the need for traditional crafts people to embrace and incorporate new technologies into their process in order to

18、 survive and influence the coming onslaught of mass homogenization in our everyday objects. Ambikraf puts these theories into action. By attempting to augment the traditional art form of Byobu, without interrupting the t

19、ranquil function of the represented paintings, Ambikraf technology enables traditional crafts people to incorporate </p><p>　　3.RELATED WORKS</p><p>　　Hence, looking at the above works, there we

20、re many technologies that we considered for our approach. As such, many works have been presented as textile displays in the OUI arena (Co and Pashenkov, 2008). One of the first considerations for this purpose was ‘emiss

21、ive’technologies. Here, by emissive, we refer to technologies that emit light. For example, LEDs, EL wires etc. are emissive technologies. Even though these can be seamlessly embedded into fabric, such may not be preferr

22、ed due to the emi</p><p>　　4.TECHNOLOGY</p><p>　　This section introduces the technology of AmbiKraf Byobu as we use a customized form of previous AmbiKraf technology. The technology is presented

23、 in three sections with the color-changing technology presented first and the interaction</p><p>　　technology presented second. Lastly, we present the integration of this technology with the art of Byobu.<

24、;/p><p>　　Color changing technology</p><p>　　The overall color-changing system is depicted in Fig. 1. The AmbiKraf system uses a combination of Peltier semiconductor modules and thermochromic leuco

25、 dye ink technologies to achieve a fast color-changing display. These two technologies are combined together using a closed-loop control system employing a proportional and integral (PI) controller in order to accurately

26、 control the Peltier temperature and thereby control the color. Next, we describe in detail the mechanisms of each main componen</p><p>　　Interaction system</p><p>　　For the first prototype vers

27、ion of the AmbiKraf Byobu, the interactive system of AmbiKraf Byobu is triggered by the proximity of the participant. However, Section 7 discusses the next version of the interaction with AmbiKraf Byobu. In the current f

28、orm, SRF05 ultrasonic range sensor, which is attached to the bottom of the Byobu frame is used to detect the proximity of the participant.</p><p>　　Integration with Byobu</p><p>　　The main compo

29、nents of the AmbiKraf Byobu system are as seen in Fig. 4. A Bybou frame was custom made with two pannels with the animations on each panel. Differently arranged Peltier elements and the circuits were attached to three he

30、at dissipation modules, which were slotted into the Byobu frame (Fig. 5b). We used these heat dissipation modules since the AmbiKraf Byobu work was meant as an installation intending to run for few hours a day without an

31、y over-heating problems. As Peltier elements a</p><p><b>　　5.RESULTS</b></p><p>　　This section details the results of the AmbiKraf Byobu installation in two subsections. First, we ex

32、plain the technical results of the controller of the system. Next, the actual output results are discussed.</p><p>　　Controller results</p><p>　　The controller results mainly concerns the speed

33、and controllability of the color change of the thermochromic inks. The thermochromic inks that we use for the AmbiKraf Byobu work is of a 32? C actuation temperature. The ink is printed on a yellow common silk fabric. Th

34、erefore, when the thermochromic ink is actuated and becomes colorless, the yellow base fabric would appear. The temperatures measured here are the temperatures on the surface of the copper mold that is heated or cooled b

35、y the Pelti</p><p>　　6.DISCUSSION</p><p>　　Here, we discuss the results in detail. First, the speed of color change is discussed to understand why the current speed was set. Next, we discuss the

36、 cultural implications of this work and how AmbiKraf Byobu merges the culture and technology. In addition, as we have not yet conducted a formal user study, we discuss the demosntrations of the AmbiKraf Byobu installatio

37、n itself and interesting feedback from some participants which is important in understanding the results of our attempt. Finally,</p><p>　　Cultural implications</p><p>　　Our work, Ambikraf techn

38、ology, is used to animate a Byobu screen which frees the landscape paintings on textiles from this static form to one that is dynamic, animated and interactive. With the animation of Ambikraf Byobu screen, the landscapes

39、 can now move, change and grow to once again depict the passage of time and temporality of nature. The integration of this traditional Byobu screen craft with cutting edge technology allows the participants to experience

40、 what otherwise would be absent in t</p><p>　　Our work looks at ways in which traditional textile crafts in Asia can recreate itself in the digital age to ensure its survival and still remain true to itself

41、as a craft (Tharakan et al., 2010). The room divider, a panel that creates a division in a space, has now become a canvas to blur the division between old and new, static and dynamic, physical and virtual, craft and tech

42、nology and the material and immaterial.</p><p>　　7.CONCLUSION</p><p>　　In this paper, we present an interactive Byobu screen based on non-emissive, Ambikraf technology as an initial application.

43、 We discuss some of the inspiring and pioneering works that have influenced the conceptualization and implementation of our system and also discuss the base technology of Peltier semiconductors and color-changing inks. W

44、e also outline how we developed an interactive system using ultrasound technology.</p><p>　　Finally, we include considerations for incorporating ancient crafts with technology, the significance of Byobu and

45、other traditional craft practices and also try to explain the general experience when interacting with Ambikraf Byobu.</p><p>　　In addition, as a new ambient display technology, AmbiKraf, we merge digital te

46、chnology with traditional arts and crafts that allows seamless merging of technology and the environment. This attempt highlights the importance of preserving the traditional values of the significant physical media, in

47、this case fabric. As such, we believe that this work will provide relevant reference for the future developers in designing and implementing such physical ambient media systems.</p><p>　　REFERENCES</p>

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65、g Textile Animation. In Embedded and Ubiquitous Computing (EUC), 2011 IFIP 9th International Conference, Melbourne, Australia,pp. 221–228.</p><p>　　AmbiKraf屏風(fēng)：將技術(shù)與傳統(tǒng)工藝進(jìn)行融合</p><p>　　Roshan Lal in

66、t ha Peiris, Jeffr ey Tzu Kwan Val ino Koh, Mil i John Thar akan, Owen Noel Newt on Fer nando and Adr ian David Cheok</p><p>　　在本文中，我們介紹了在AmbiKraf 屏風(fēng)上將技術(shù)與傳統(tǒng)工藝進(jìn)行協(xié)同作用的可能性。 AmbiKraf是一種不發(fā)光具有色彩變幻的面料技術(shù)，可以在面料上進(jìn)行微妙的

67、動(dòng)畫制作。 屏風(fēng)是一個(gè)傳統(tǒng)的日式房間分隔屏障，它通常是由工匠和工藝師繪制。首先，我們探討了AmbiKraf技術(shù)的有機(jī)性質(zhì)，特別是它非常適合傳統(tǒng)藝術(shù)和工藝實(shí)踐。這些性質(zhì)包環(huán)境屬性的、非侵入式的動(dòng)畫以及可以使用不發(fā)光顯示特征的平面圖案。然后，我們?cè)敿?xì)討論AmbiKraf技術(shù)是如何實(shí)施的，并與屏風(fēng)的藝術(shù)形式進(jìn)行配對(duì)。并且還簡(jiǎn)要介紹了系統(tǒng)的交互作用，以及關(guān)于技術(shù)與傳統(tǒng)工藝相結(jié)合的文化含義和互相促進(jìn)的探討。通過(guò)在屏風(fēng)中使用AmbiKraf技術(shù)，我

68、們希望提供一個(gè)具有說(shuō)服力的案例，可以將傳統(tǒng)紡織工藝與新技術(shù)巧妙地結(jié)合起來(lái)以幫助重新定義傳統(tǒng)紡織品的意義和作用。</p><p>　　關(guān)鍵詞：紡織品；織物；有機(jī)的；界面；屏風(fēng)；交互作用；動(dòng)畫；熱變色的；珀?duì)柼?yīng)；不發(fā)光的；顯示</p><p><b>　　1.引言</b></p><p>　　在還沒有互聯(lián)網(wǎng)和電視媒體的年代，通常使用紡織媒體來(lái)傳

69、播復(fù)雜的神話故事以及意識(shí)形態(tài)，甚至被用于娛樂（Campbell，2010）。 紡織品和其他工藝媒體在許多文明中在傳授知識(shí)方面擔(dān)任了特殊角色，并且在以往的日子中，它都是家庭中關(guān)注的焦點(diǎn)，就像今天的家庭娛樂系統(tǒng)或家庭計(jì)算機(jī)功能一樣。 同樣，在交互式研究領(lǐng)域，有機(jī)用戶界面（OUI）（Vertegaal和Poupyrev，2008）等概念可以決定界面的開發(fā)，以使其無(wú)處不在，其輸入和輸出是通過(guò)相同的媒介來(lái)體驗(yàn)到的。</p><

70、p>　　將有機(jī)用戶界面滲透到媒體的人體工程學(xué)的交互當(dāng)中去，為許多常見材料成為交互式平臺(tái)鋪平了道路。 因此，紡織品受到廣泛關(guān)注，將紡織品的傳統(tǒng)角色轉(zhuǎn)變?yōu)楦弑憩F(xiàn)力、更具互動(dòng)性的材料。 諸如有機(jī)用戶界面的框架為將織物和紡織品看作是界面媒體提供了新的新方法（Co和Pashenkov，2008）。 由于有機(jī)用戶界面規(guī)定其界面的輸入和輸出是同一個(gè)，因此有機(jī)用戶界面可以提升界面中使用的特定媒體的自帶的內(nèi)在特質(zhì)。 這非常適合以紡織品為主導(dǎo)的界面

71、，因此可以使AmbiKraf 屏風(fēng)等項(xiàng)目成為可能。</p><p>　　AmbiKraf屏風(fēng)</p><p>　　房間的間隔板或屏障被稱之為屏風(fēng)，是九世紀(jì)日本家庭和寺廟中不可或缺的家具（Graham，1990）。 這些面板式的獨(dú)立式屏障可用于各種用途，從茶道儀式和婚禮背景到衣架和家居隱私。 這些屏幕上描繪的最常見的畫作是自然景觀，有時(shí)伴隨著“和歌”詩(shī)。 作為繪畫，盡管自然界中的生生死死是循

72、環(huán)往復(fù)的，它們只能喚起人們對(duì)時(shí)間流逝的感知，提醒著人們生命存在的時(shí)間性（Cunningham，1988）。</p><p>　　我們本次研究的工作是要通過(guò)日常紡織工藝品來(lái)探索實(shí)體和虛擬，靜態(tài)和動(dòng)態(tài)，材料和非物質(zhì)之間的界限。在這里，面料是一種媒介，結(jié)合了當(dāng)代數(shù)字技術(shù)（Lugmayr，2012）。 因此，AmbiKraf技術(shù)使織物本身能夠改變顏色。 因此，交互作用發(fā)生在實(shí)際的織物身上，而不是嵌入或顯示在其上的任何其他

73、材料。 這是我們?cè)诤喜⒋思夹g(shù)和傳統(tǒng)工藝時(shí)確定的關(guān)鍵屬性，因?yàn)樗兄诒３謱?shí)際結(jié)構(gòu)的完整性，并允許用戶與實(shí)際結(jié)構(gòu)本身進(jìn)行交互。 這種特性保留了紡織品和工藝的有機(jī)屬性。 因此，紡織介質(zhì)同時(shí)是輸入和輸出的通道。</p><p><b>　　2.研究背景</b></p><p>　　就新工藝所做的工作（Tharakan 等人2010）揭示了傳統(tǒng)工藝人員需要接受并將新技術(shù)融入他

74、們的工藝中，以便在我們?nèi)粘Ｎ锲分写笠?guī)模同質(zhì)化的沖擊下贏得生存并發(fā)揮自身的影響。 Ambikraf將這些理論付諸行動(dòng)。 通過(guò)嘗試增強(qiáng)屏風(fēng)的傳統(tǒng)藝術(shù)形式且不中斷代表畫作的傳統(tǒng)功能的情況下，Ambikraf技術(shù)使傳統(tǒng)工藝人員能夠融入到具有交互功能的數(shù)字技術(shù)，但仍然保留了彩繪面料的品質(zhì)。 這種融合數(shù)字和現(xiàn)實(shí)世界的方式使我們能夠探索到AmbiKraf技術(shù)可以作為結(jié)合數(shù)字技術(shù)和傳統(tǒng)工藝的新環(huán)境媒體（Lugmayr等，2009）。</p>

75、<p><b>　　3.相關(guān)著作</b></p><p>　　因此，在查看了以上的相關(guān)著作之后，我們?yōu)槲覀冄芯康姆椒紤]了許多的技術(shù)。因此，在許多著作中有機(jī)用戶界面被介紹為紡織品顯示界面（Co和Pashenkov，2008）?；诖耍覀兪滓紤]的因素之一是“發(fā)射”技術(shù)。因此，在這里的自發(fā)光，我們指的是發(fā)光的技術(shù)。例如，LED，EL線等是發(fā)射技術(shù)。盡管這些光線可以無(wú)縫地嵌入到織

76、物中，但由于燈的發(fā)射性質(zhì)，這可能不是最好的選擇。啟發(fā)這種放射性方法的著作之一是由PHILIPS（2006）提出的Lumalive，這是一種流行的面料顯示技術(shù)。該技術(shù)使用嵌入衣服中的多色LED燈光來(lái)形成顯示器。</p><p><b>　　4.技術(shù)</b></p><p>　　本節(jié)介紹AmbiKraf 屏風(fēng)技術(shù)，也就是我們使用以前的AmbiKraf技術(shù)的定制形式。該技術(shù)

77、分為三個(gè)部分，首先介紹了變色技術(shù)，第二部分介紹了交互技術(shù)。最后，我們介紹了這項(xiàng)技術(shù)與屏風(fēng)藝術(shù)的整合。</p><p><b>　　變色技術(shù)</b></p><p>　　整個(gè)變色系統(tǒng)如圖1所示.AmbiKraf系統(tǒng)結(jié)合使用珀?duì)柼?yīng)半導(dǎo)體模塊和熱變色隱色染料墨水技術(shù)，實(shí)現(xiàn)快速變色顯示。這兩種技術(shù)使用采用比例和積分（PI）控制器的閉環(huán)控制系統(tǒng)組合在一起，以便精確控制珀?duì)柼?/p>

78、溫度，從而控制顏色。接下來(lái)，我們?cè)敿?xì)描述系統(tǒng)的每個(gè)主要組件的機(jī)制。</p><p><b>　　交互系統(tǒng)</b></p><p>　　對(duì)于AmbiKraf 屏風(fēng)的第一個(gè)原型版本，AmbiKraf 屏風(fēng)的交互系統(tǒng)是由參與者的接近程度來(lái)實(shí)現(xiàn)。但是，第7節(jié)討論了與AmbiKraf屏風(fēng)交互的下一個(gè)版本。在當(dāng)前形式中，SRF05超聲波測(cè)距傳感器連接到屏風(fēng)框架的底部，用于檢測(cè)參與

79、者的接近程度。</p><p><b>　　與屏風(fēng)進(jìn)行整合</b></p><p>　　AmbiKraf 屏風(fēng)系統(tǒng)的主要組成部分如圖4所示.Bybou框架是由帶有兩個(gè)面板定制而成，每個(gè)面板上都有動(dòng)畫。不同排列的珀?duì)柼?yīng)元件和電路連接到三個(gè)散熱模塊，這些模塊插入到屏風(fēng)框架中去（圖5b）。我們使用這些散熱模塊，因?yàn)锳mbiKraf 屏風(fēng)的工作要求它每天運(yùn)行幾個(gè)小時(shí)而沒有

80、任何過(guò)熱問(wèn)題。由于珀?duì)柼?yīng)元件是熱致動(dòng)器，它們需要連續(xù)消散多余的熱量。因此，這些散熱模塊要謹(jǐn)慎地使用以使屏風(fēng)的外觀不會(huì)改變。</p><p><b>　　結(jié)果</b></p><p>　　本節(jié)詳細(xì)介紹AmbiKraf屏風(fēng)技術(shù)安裝的結(jié)果，分為兩個(gè)小節(jié)。 首先，我們解釋系統(tǒng)控制器的技術(shù)結(jié)果。 接下來(lái)，討論實(shí)際輸出結(jié)果。</p><p><b

81、>　　控制器結(jié)果</b></p><p>　　控制器結(jié)果主要涉及熱變色油墨顏色變化的速度和可控性。 我們用于AmbiKraf 屏風(fēng)研究工作的熱變色墨水具有32°C的驅(qū)動(dòng)溫度。 墨水印在黃色普通絲綢織物上。 因此，當(dāng)熱變色墨水被致動(dòng)并變?yōu)闊o(wú)色時(shí)，將出現(xiàn)黃色基底織物。 這里測(cè)量的溫度是由珀耳帖元件加熱或冷卻的銅模表面上的溫度。</p><p><b>　

82、　6.探討</b></p><p>　　在此我們?cè)敿?xì)討論實(shí)驗(yàn)結(jié)果。 首先，通過(guò)討論顏色變化的速度來(lái)理解為什么要設(shè)定當(dāng)前的速度。 接下來(lái)，我們將討論這項(xiàng)工作的文化含義以及AmbiKraf 屏風(fēng)散如何融合文化和技術(shù)的。 此外，由于我們尚未進(jìn)行正式的用戶研究，我們將討論AmbiKraf 屏風(fēng)安裝的演示并探討一些參與者的有趣反饋，這些反饋對(duì)于理解我們所做的嘗試的結(jié)果非常重要。 最后，我們討論了本次實(shí)驗(yàn)結(jié)果和方

83、法的一些局限性以及改進(jìn)方法和方向。</p><p><b>　　文化內(nèi)涵</b></p><p>　　我們研究工作的對(duì)象，Ambikraf技術(shù)，用于動(dòng)畫屏風(fēng)，將紡織品上的風(fēng)景畫從這種靜態(tài)形式釋放到動(dòng)態(tài)、動(dòng)畫和具有互動(dòng)性的形式。 通過(guò)Ambikraf 屏風(fēng)的動(dòng)畫，景觀現(xiàn)在可以移動(dòng)、變化和縮放，并描繪了時(shí)間的流逝和自然的時(shí)間性。 這種傳統(tǒng)的屏風(fēng)屏幕工藝與尖端技術(shù)的整合使參

84、與者能夠體驗(yàn)在這些屏幕中不存在的東西－一種體驗(yàn)和自然觀察到的時(shí)間流逝。 此外，參與者可以與屏幕互動(dòng)，并因此成為傳統(tǒng)靜態(tài)藝術(shù)品的主要部分。 Ambikraf 屏風(fēng)試圖將無(wú)處不在的技術(shù)無(wú)縫集成到傳統(tǒng)日本家庭的日常禮儀中，而不會(huì)中斷傳統(tǒng)藝術(shù)形式所代表的生活方式（Ueki等，2007）。</p><p>　　我們的研究工作著眼于亞洲傳統(tǒng)紡織工藝在數(shù)字時(shí)代重建的方式，以確保其能作為一種工藝留存下來(lái)（Tharakan 等人，

85、2010）。 房間間隔板，一個(gè)在空間中創(chuàng)建分區(qū)的面板，現(xiàn)在已成為模糊了新舊、靜態(tài)和動(dòng)態(tài)、實(shí)體和虛擬、工藝和技術(shù)以及物質(zhì)和非物質(zhì)等概念的畫布。</p><p><b>　　7.結(jié)論</b></p><p>　　在本文中，我們提出了一個(gè)基于不發(fā)光的Ambikraf技術(shù)作為初始應(yīng)用的交互式屏風(fēng)屏幕。我們討論了影響我們這個(gè)系統(tǒng)概念化和實(shí)施的一些具有啟發(fā)性和開創(chuàng)性的工作，并討論

86、了Peltier半導(dǎo)體和變色油墨的基礎(chǔ)技術(shù)。我們還概述了我們?nèi)绾问褂贸暭夹g(shù)開發(fā)交互系統(tǒng)。</p><p>　　最后，我們考慮到了將古代工藝與技術(shù)結(jié)合起來(lái)，還考慮到了將屏風(fēng)和其他傳統(tǒng)工藝實(shí)踐結(jié)合起來(lái)帶來(lái)的意義，并試圖解釋了與Ambikraf 屏風(fēng)交互作用的一般性經(jīng)驗(yàn)。</p><p>　　此外，作為一種新的自動(dòng)顯示技術(shù)AmbiKraf，我們將數(shù)字技術(shù)與傳統(tǒng)工藝相結(jié)合，實(shí)現(xiàn)技術(shù)與環(huán)境的無(wú)縫融

87、合。這種嘗試突出了要保留傳統(tǒng)媒體的傳統(tǒng)價(jià)值的重要性，在本次的研究案例是織物。因此，我們相信這項(xiàng)工作將為未來(lái)開發(fā)人員設(shè)計(jì)和實(shí)現(xiàn)此類實(shí)際環(huán)境媒體系統(tǒng)提供相關(guān)參考。</p><p><b>　　參考文獻(xiàn)</b></p><p>　　Baldwin, S. (2002) On speed and ecstasy: Paul Virilio’s ‘a(chǎn)esthetics of d

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