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What is interactive multimedia? | |
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Introduction | |
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Multimedia | |
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Modalities | |
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Channels | |
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Medium | |
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So what is multimedia? | |
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Interaction | |
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Action and interaction | |
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Physical interaction | |
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Communicative interaction | |
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Summary | |
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A brief history of computers and multimedia | |
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Tape control devices | |
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Branching systems | |
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Computer presented media | |
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A brief history of computers & interaction | |
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External memory | |
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External algorithms | |
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The first computer | |
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So - what is imm? | |
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Communicative interaction | |
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Introduction | |
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Objects and agents | |
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Channels of communication | |
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Formal languages | |
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''''Natural'''' communication | |
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Languages of non-interaction | |
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Meta-languages? | |
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Components of imm | |
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Knowledge | |
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Introduction | |
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Why does knowledge matter? | |
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The basic idea of knowledge | |
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Information, knowledge and belief | |
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Organisation of knowledge | |
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A working definition | |
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Techniques of knowledge representation | |
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Declarative knowledge | |
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Procedural knowledge | |
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When do procedures become declarative? | |
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Techniques of knowledge elicitation | |
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Understanding users | |
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Why are users important? | |
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Things you might know about a user | |
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Task models | |
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What is a user? | |
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Organising user knowledge | |
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Background and foreground knowledge | |
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Cognitive, conative and affective components | |
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Cognitive | |
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Conative | |
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Affective | |
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How to apply user knowledge | |
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What can be adjusted? | |
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User centred design | |
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Adapted (customised) Systems | |
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Adaptive systems | |
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How to acquire user knowledge | |
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Research - background - demographics | |
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Pretesting | |
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Asking | |
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Testing during interaction | |
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Inference | |
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Techniques: user profiling | |
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Techniques: user modelling | |
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Subset modelling | |
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Perturbation modelling | |
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Extending the user models | |
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Summary and conclusions | |
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Interaction and HCI | |
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What is interaction in practice? | |
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The idea of ''''interface'''' | |
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Iconography | |
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Devices (i/o) | |
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Ergonomics | |
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HCI | |
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Formal models of the interface | |
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Prove before build | |
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Mental models of the interface | |
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accessibility and usability | |
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Communicative interaction and the interface | |
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If and dialogue | |
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If and channels | |
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If and multimedia | |
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Guidelines and rules | |
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Low-level stuff | |
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Dialogue model interfaces | |
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Natural language interfaces | |
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Semiotics | |
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Multimedia content | |
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What is semiotics? | |
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The idea of sign | |
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Terminology | |
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Signifier, signified and referent | |
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Symbolic, iconic and indexical | |
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Language, utterance and code | |
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Construction of signs | |
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Context and culture | |
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More complex signs | |
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Introducing myth | |
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Semiotics and media | |
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Text as a medium | |
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Images on a page | |
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When does an image become a letter? | |
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When does a letter become a word? | |
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Pictograms, fonts and font families | |
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The alphabet as a visual concept | |
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A (short) History of writing and painting | |
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The sound of text | |
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Structure | |
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Intonation | |
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Emphasis | |
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The concept of readability | |
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Psychology of reading | |
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Standard measures | |
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Layout and readability | |
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Document styles | |
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Narrative | |
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Prose | |
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Manuals | |
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References | |
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Tutorials | |
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Metalanguages | |
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Metalanguage and style | |
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Power of metalanguage | |
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Text and the screen | |
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Sound | |
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The spoken word | |
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Verite recording | |
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Talking live and for tape | |
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A history of recording media | |
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Aspects of speaking | |
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Scripting for speaking | |
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Editing | |
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Sound effects | |
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Non-natural | |
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Natural (etc.) | |
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Music | |
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One note | |
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Scale | |
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What is rhythm? | |
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Musical genre and interpretation | |
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Sound in a digital age | |
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Still pictures | |
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Cartoons | |
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Abstraction and minimalism | |
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Political cartoons | |
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Painting | |
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Visual grammars | |
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Still photographs | |
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History of the camera (pre-film) | |
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Film and reality | |
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Communicating with image | |
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Authenticity and image | |
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Beyond the human eye | |
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Sequences of still images | |
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Magic lantern | |
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Temporal and spatial context | |
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Cartoon strips | |
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Slide projection | |
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Moving images | |
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Introduction | |
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Animation | |
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"live" action | |
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Origins - fixed point ''''documentary'''' | |
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Links to theatre? | |
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Film as reality or toy? Does ''''art'''' matter? | |
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A language of reality? | |
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The studio | |
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The shot | |
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Closer to reality? | |
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Scripts and drama | |
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Filming emotion | |
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The idea of ''''ultimate'''' cinema | |
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Film is not video | |
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Imitating film language with video | |
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Technical differences and their effects | |
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Live editing | |
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Language of errors | |
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Technology effects | |
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The digital world | |
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Complex visual channels | |
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Created ''''real'''' images | |
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Virtual reality, immersion and control | |
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Stakeholders and teamworking | |
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Importance of teamwork | |
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Players and roles | |
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Communication problems and processes | |
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Documentation for the team | |
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Product design processes | |
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Standard design processes | |
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Issues for multimedia | |
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Categories of multimedia systems | |
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Flow-based | |
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Hyper-based | |
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Object based | |
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Agent based | |
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An integrated design process for interactive multimedia | |
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Evaluation and testing | |
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Product documentation | |
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Project design and management | |
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Project design | |
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Special issues for multimedia | |
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Project management | |
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Documentation | |
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Deployment of systems | |
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Future trends | |
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Conceptual changes | |
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Cultural evolution | |
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Technological models | |
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Hot topics for the immediate future | |