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1、此文档是毕业设计外文翻译成品（ 含英文原文+中文翻译），无需调整复杂的格式！下载之后直接可用，方便快捷！本文价格不贵,也就几十块钱！一辈子也就一次的事！外文标题：AmbiKraf Byobu: Merging Technology with Traditional Craft外文作者：Roshan Lal int 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文献出处:Interacting with Compu
2、ters,2017, 25(2):173-182(如觉得年份太老，可改为近2年，毕竟很多毕业生都这样做)英文2355单词， 13685字符(字符就是印刷符)，中文3702汉字。AmbiKraf Byobu: Merging Technology with Traditional CraftRoshan Lal int ha Peiris, Jeffr ey Tzu Kwan Val ino Koh, Mil i John Thar akan, Owen Noel Newt on Fer nando and Adr ian David CheokIn this paper, we present
3、 a synergy of technology and traditional craft made possible with AmbiKraf Byobu. AmbiKraf is a non-emissive, color-changing fabric technology that allows subtle animations on fabrics. Byobu is a traditional Japanese room-divider screen, usually painted by artisans and crafts people. We first discus
4、s the organic qualities of AmbiKraf technology that particularly lend itself to traditional art and craft practice. These qualities include the animation of ambient, non-intrusive and calming motifs using non-emissive display characteristics. We then discuss in detail how AmbiKraf technology is impl
5、emented and paired with the art form of Byobu. Interaction with the system is also briefly touched upon, as well as discussion regarding the cultural implications and mutual benefit of combining technology with traditional craft. Through the use of AmbiKraf technology embodied by the Byobu, we hope
6、to provide a convincing example that sensitively combines traditional textile crafts with new technology in order to help redefine the meaning and role of traditional textiles.Keywords: textile; fabric; organic; interface; Byobu; interaction; animation; thermochromic; Peltier;non-emissive; display1.
7、INTRODUCTIONIn an age where the internet and television were non-existent, often textile media were used to communicate complex mythologies, ideologies and narratives and were even used for entertainment (Campbell, 2010). Textiles and other craft media held special roles in many civilizations for pa
8、ssing on knowledge and were often the center of attention in the homes of yesteryears, much like a home entertainment system or family computer function as today. Likewise, in the field of interactive research, concepts like organic user interfaces (OUIs) (Vertegaal and Poupyrev, 2008) can dictate t
9、he development of interfaces so that they are ubiquitous, where input and output are experienced through the same medium.OUIs involvement of the ergonomics of the medium into its interaction has paved the way for many common materials into become interactive platforms. As such, textiles have gained
10、wide attention transforming the traditional role of textiles to more expressive, interactive, 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 th
11、e input and output of an interface are one and the same, OUIs promote the natural and intrinsic qualities of the particular media used in the interface. This lends itself well to textile-based interfaces and as such make projects such as AmbiKraf Byobu possible.AmbiKraf ByobuRoom dividers or screens
12、 known as Byobu were an indis- pensable piece of furniture in the homes and temples of Japan from the nineth century (Graham, 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. Nat
13、ural landscapes were the most common paintings depicted on these screens, sometimes accompanied with a waka poem. Being paintings, they can only evoke a sense of the passage of time even though nature in its very essence grows and dies continuously in a cycle, reminding man of the temporality of lif
14、e and existence (Cunningham, 1988).Our work explores ways in which boundaries between physical and 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 techno
15、logy (Lugmayr, 2012). 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 key property we identify in the merging of this technology and th
16、e traditional craft as it helps preserve the integrity of the actual fabric and allows users to interact with the actual fabric itself. This property preserves the organic qualities of the textile and the craft. Therefore, the textile medium is the mode for input and output.2.BACKGROUNDWork on Neo Craft (Tharakan et al., 2010) uncovers the need for traditional crafts people to embrace and incorporate new technologies into their process in
