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Ambience and Mobility

2006
Mobile users generate a number of new problems by changing the context of interaction with the system. While context has always been relevant to interaction, the fact this can change, and the fact that tasks may be dependant on these contexts adds a new dimension to the design problem.
Gavin J. Doherty   +6 more
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A Community Ambience

Resonance, 2021
This paper analyzes sound-oriented public performance Tuning In—the neighborhood, a project by Tao G. Vrhovec Sambolec, which took place in Amsterdam in May 2019. Through a combination of micropolitical theory and consideration of the (sound) art heritage that Tuning In is part of, the term ambience is transformed into a concept that helps one make ...
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Putting Haptics into the Ambience

IEEE Transactions on Haptics, 2009
In an attentionally overloaded world, relief will come only from interfaces between humans and computation that are able to provide information in the background of our sensory and cognitive processes. Haptic displays may have a special role to play in this emerging movement toward ambient interfaces, because the touch sense is well suited to present ...
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Experience the “ambience”

International Journal of Emerging Markets, 2016
Purpose– Ambient advertising is a unique, intimate and non-traditional form of communication between the product and the consumer; and uses all physical and environmental elements leading to stronger customer engagement. The purpose of this paper is to explore the innovations in ambient advertising including flash mob dancing, use of structures ...
Jun Wu, Anshu Saxena Arora, Amit Arora
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Ethics of Ambience

2009
Ambient Intelligence is a domain of research into novel approaches to building and using technology that is responsive in its interactions with us, according to our needs, moods, tastes. There are various approaches to what ambient intelligence is. It is a vast spectrum of ‘cross-modal’ and sensory technologies, the specific nature ...
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Ambience

2018
Chapter 4 explores and theorizes Eno’s approach to ambient music. It begins with a clear precursor, Erik Satie’s musique d’ameublement—furniture music. Like Satie, Eno sought sounds that could blend into and color various situations without commanding the attention of the hearer.
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