_Glossar


Dieses spezifisches Glossar wird sukzessive aufgebaut und erweitert.


Allerdings sei an dieser Stelle auf bereits vorhandene Online-Glossare zu Themengebieteten der Informatik verwiesen:

» http://www.netx.ch/lexikon/default.asp
Lexikon mit rund 6.000 Einträgen zu den Themen Informatik und Computing.

» http://edvinfo.com/
Lexikon mit etwa 4.000 EDV-Begriffen und Abkürzungen

» http://131.99.21.145/n2.html
Internet-Wörterbuch von Langenscheidt und sueddeutsche.de mit rund 1800 Einträgen.

» http://www.kleines-lexikon.de
Ein "Kleines Lexikon des Internet" mit 1.000 Begriffen, Abkürzungen und Techniken des Internet. Dazu weiterführende Links.

» http://www.glossar.de/glossar/glosbody.htm
Glossar mit mit angebotener Downloadversion

» http://www.computerlexikon.com/
rund 1600 Begriffe und 300 Links

EINTRÄGE
Design| Simulation | Operationsresearch | Modell | Augmented Reality – Mixed reality | Moores Law

DESIGN

"De/sign [di'zain], das; -s, [engl. design < älter frz. desseing, zu: desseigner = zeichnen, entwerfen < ital. disegnare < lat. designare -> designieren]: formgerechte und funktionale Gestaltgebung u. die so erzielte Form eines Gebrauchsgegenstandes; Entwurfszeichnung]: neuzeitliches, geschmackvolles D. [von Möbeln] (...) De/si/gner [di'zaina], der; -s, - [engl. designer, zu: to design = zeichnen, entwerfen < frz. désigner < lat. designare -> designieren]: jmd., der das Design von Gebrauchs- u. Verbrauchsgütern entwirft (Berufsbez.): D. von Industrieprodukten; (...)"
Duden, Deutsches Universalwörterbuch, Mannheim 1989


"Industrie-Design ist Gestaltung im Sinne einer planenden, konzipierenden und entwerfenden Tätigkeit für Industrieunternehmen, Kommunen und Dienstleistungseinrichtungen. Dazu sind Kenntnisse, Fähigkeiten und Erfahrungen erforderlich, um die produktionsbestimmenden Faktoren zu erfassen, die Gestaltungskonzeption zu erarbeiten und dieselbe im Zusammenwirken mit den an der Produktplanung, Entwicklung und Fertigung Beteiligten umzusetzen. Die koordinierende Entwurfstätigkeit muß ganzheitlich Nutzungs- und Verwertungszusammenhänge einbeziehen, um eine soziale und ökologische Verträglichkeit, kulturelle Akzeptanz und Wirtschaftlichkeit der Ergebnisse zu erreichen. Ziel dieser Tätigkeit ist die funktionsgerechte Gestaltung von Produkten, Systemen, Prozessen, Erscheinungsbildern etc."
VDID-Extra 1/94, S.7


"Design:
Exceptionally rich in connotations, design (as verb or noun) suggests the activity of marking out, of conceiving a plan in one's mind, of devising means for a specific function. It also has the connotation of creating and calculating for a predetermined end (a definition of particular relevance to engineering design). It also covers such apparently unrelated activities as to designate for office and function, to generate an undercover scheme or plot of disputable intent, to have a purpose (artistic or not) in mind. There is, nevertheless, something that brings all these connotations into some focus. The word (with its roots in Latin) points to an activity that centers on the sign. Indeed, the word design could mean "from the sign," "on account of the sign," "concerning the sign," according to the sign," "through the medium of the sign." All these possible understandings imply the semiotic nature of design activity. This might be a meaning conjured after the experience of modern semiotics, but nevertheless experientially grounded in the nature of the activity (to design) and of the products (designs) the world labels. It is no surprise then that designers were among the first to show interest in the modern revival of semiotics, an interest that continues unabated. In search of a theory for a field of human practice characterized by a lack of conceptual discipline, designers were (and still are) willing to adopt semiotics as their theory (or metatheory), provided that semioticians pay attention to critical problems of design, and do not extend a language-based model where image-based understanding is expected.
Initially seen as a form of applied drawing, design evolved to integrate messages, artifacts, and events. "Nearly every object we use, most of the clothes we wear and many things we eat have been designed," observed Adrian Forty in his historic overview. The examples mentioned (fashion, products, food) need to be expanded in order to integrate design engineering, architecture, interior design, interface design, and the design of ceremonies and political events, all in extension of the practical activity of imagining things before we make them happen. Preliminary drawings by painters, sculptors, architects, even preliminary schemes conceived by poets, novelists, or playwrights are defined as designs. They are executed well before the work and sometimes do not lead to any further effort. Based on how the activity defined itself since the inception of the profession (in the eighteenth century), a good definition of design will have to show how a new designed reality emerges from what is possible and indeed desired.
Current distinctions are made between graphic design, advertising design, industrial design, product design, and fashion design, to name a few areas. They seem to express specializations rather than the awareness of a common denominator. It is clear that the persons who created the elaborate heraldic signs of the Middle Ages, or those who worked on identifiers for businesses (what is today called signage), or those who conceived of tools, weapons, or household utensils shared a sense of visual quality and understanding of how form, material, and desired function are related. When, only as recently as 1944, one of the first designer groups (the British Council of Industrial Design) identified its field of interest, design entered an age of commitments and self-definition that led to the many design organizations and publications dedicated to various current aspects and practices of design. This process can be better understood as a change from the amorphous status of the Arts and Crafts movement to the status of a profession in search of its concepts, methods, and tools. Art Nouveau, the German Jugendstil, and the Bauhaus, are some of the stages in this development. Among those with considerable impact on the definition of design and its growing self-awareness (semiotic awareness included) are C.R. Mackintosh, P. Behrens, F.L. Wright, W. Gropius, A. Rodchenko, L. Mies van der Rohe, El Lissitzky, Le Corbusier, A. Aalto, and M. Breuer.
To design means, among other things, to plan, to anticipate according to a devised course of events in view of a goal, of material and technical constraints, and under the influence of the environment. Design reflects the awareness of quality (of objects, actions, representations) and the expectation of functionality within a framework of shared values. The environment of design is that of culture. "Engineering, medicine, business, architecture, and painting are concerned not with how things are but with how things might be - in short, with design," noted Herbert Simon. The observation implicitly states that all fields mentioned are subject to design activity. It is probably appropriate to state that design is one of the major human activities that shapes the future. Designers work towards a goal to be attained with the help of representations of this goal. These representations, whether drawings, models, or computer simulations, are semiotic means. In the course of its evolution, design acknowledged some representational conventions (perspective, section, rendering, among others), while continuously searching for new expressive means. Design requires a great deal of system (or method), especially in precise areas such as typography (which bears the heavy load of tradition), signage, specialized communication, or engineering. However, elements of inventiveness, spontaneity, even randomness confer "life" upon design. The human touch (dominantly the indexical sign of the designer or of the craftsman) makes perfection (of machine drawing or execution) more bearable. In the design representation, rationality, imagination, sensitivity, and invention coexist and interact. While pragmatic requirements are in the end decisive for any design endeavor, designers frequently pursue semantic goals or syntactic procedures. Semantically driven design tends to equate the representation with the function. Consequently, designs in the semantic mode are illustrative of what they emulate. This is why semantic design never took root in graphic design but were widespread in theories oriented towards product design. Syntactically based design mimics appearance under the assumption that functions will emerge from similar syntactic patterns. Graphic design is often driven by syntactic considerations (a clear subset of design formalism). Encouraged by the analytical resolution of a semiotic approach to design, designers hoped to eventually integrate semiotic thought in their activity. Among the most controversial issues of a generative semiotic theory and of a semiotic practice of design are the dynamic aspects of designed artifacts. The "form follows function" paradigm that dominated until the seventies unequivocally expressed an obsession with function. The experience of designing that followed functionalism repositions the subject of semiotic process. It accounts for the many changes that take place in the process of designing and for the fact that many contexts (of understanding and use) replace each other: from the preliminaries of the design sketch until the result of design activity renders the actual artifact. One of such contexts is evaluation (internal, in terms specific to design, or external, in terms of the commissioned work). As a context of understanding, previous exposure to a design concept turns out to be a design code. This is illustrated in the continuity implicit in interactions with everyday designed artifacts, such as radios, television sets, automobiles, coffeemakers, newspapers, television programs, and a host of home and office appliances and equipment. As a context of use, the appearance of new designs does not affect the user's understanding of them, but rather requires a continuous relearning of the "language" of newly designed artifacts. Increased performance and broader functionality of new designs demand an effort to comprehend their new semiotics (of more complex commands, of new functions, or of programmed use). Successful designs become fashionable and act as models throughout the period of success.
Design understood broadly as problem solving relies on the expectation that a neat distinction between the problem and the solution can be made. As we go through more and more practical experiences, many design answers to the problems we facedÖin transportation, energy use, communication, social life, for exampleÖturned out to cause new problemsÖpollution, waste, social fragmentation, educational inadequacy. Even built-in obsolescence, once a revolutionary concept, is now regarded as at least problematic. The new ecological awareness of design is but a reflex of the inadequacy of the problem-solving paradigm, but not yet the answer to a better notion and improved experience of designing.
Sign operations - substitution, insertion, omission - and sign typology - icon,index, symbol - can together constitute a "language" of design. In the semiotic component of design education in the United States, they became part of the vocabulary taught. Nevertheless, design is not reducible to "correct" semiotic "sentences" that result from a mechanical or electronic composition of signs. As opposed to language and its implicit expectations of correct grammar or precise orthography, design does not confirm rules, but continuously investigates new possibilities. Its visual determination places design investigation in the open-ended realm of experiment and innovation. Constraints pertaining to materials, processing technologies, and social and economic expectations are elements of challenge. Design creativity, as opposed to art, is quite often the result of overcoming constraints rather than of formal innovation. The material substratum of the sign is probably more relevant to designers than to many other semiotic practitioners. When people relate to designed artifacts, they ignore or are unaware of the underlying semiotics (involving the commissioned aspects of design) and interpret the artifact for what it is supposed to be, or for what they make of it in a given pragmatic context. For designers to be aware of semiotics, or to apply it, means to understand, in addition to technological, social, physical, and other aspects, that the sign process embodied in design continues in the use of what was designed. This forces into the equation of design the future user as a component of the design semiosis.
Design and design products can be interpreted as signs. But as products, regardless of their concrete realization, they are not semiotic entities, but rather the result of human needs and desires. Accordingly, while the symbolism of a certain design might be an important factor in the user's decision to buy it, the most important factor will be the product's performance. This raises the issue of design value and criteria for evaluation. During the documented history of design, various criteria were acknowledged: formal qualities, utility, functionality, adaptability, among others. It is impossible to define universal measures for successful design. The trade-off involved in all design is determined in each particular evaluation context, and thus it seems that design as a projection seems to carry with it the "design yardstick" by which it should be evaluated. Economic considerations that reflect a design's intrinsic value, as well as the potential for its production (in limited or large scale series) affect this yardstick.
The semiotic functions of design - its practicality, aesthetics, the theoretic aspect, and the symbolism ascertained through the convention of design - were suggested from a structuralist-based dualistic semiotics (elaborated by Mdearovsky). Taking process into consideration, these functions need to be complemented by heuristics (the inquisitive aspect of design interaction), cognition (what we learn in interacting with designed artifacts), and expressivity (the originality of design). If we look at design as applied semiotics, then design is, in the final analysis, the process through which signs appropriate to intended contexts of interpretation and use are generalized and integrated in new practical experiences. Contemporary design expresses this new condition in many ways, making extensive use of new technologies in order to model various contexts.
Systematic attempts to look at design from a semiotic perspective are on record in the Saussurean semiological applications of the French School (Roland Barthes contributed many interpretations of architecture, clothing, food, and photography), in the text-based cultural models (for which Yuri Lotman is celebrated), and in the Peircean tradition. The Ulm School of Design adopted a semiotic framework (in the 1960's); Tom‡s Maldonado, Theo Crosby, and Guy Bonsiepe made initial contributions through their own design and in teaching design. Many contributions to semiotics followed both in the practice and theory of design in the United States, France, Germany, Ireland, Italy, and recently in Russia. Seduced by the powerful techniques of deconstruction, architects pursued their own semiotic concerns as these apply to the underlying design of their work. Integrated in the design of post-modern projects, deconstructionist strategies led to the juxtaposition of architectural signs of various historic and pragmatic contexts. Generally speaking, the post-modern is the embodiment of a semiotic-driven design intent on showing signs and sign operations, as well as integrating the user in the semiosis of the designed artifact. With the emergence of technologies supporting interactivity (in particular interactive multimedia as a design tool and medium), design faces new challenges that correspond to the new nature of the pragmatics of human activity. New tools, such as virtual reality environments, new means of communication, such as digital carriers and high-definition image displays, and new strategies of interaction, such as those facilitated by broadband networking, affect the condition of design as an integrative human activity involved in shaping the present and the future. As a computational activity, design reaches a new stage within which the dynamic component can be integrated through modelling or simulation. This new universe demands more sophisticated evaluation criteria that consider how new designs can be executed, as well as how the value of built-in obsolescence can be accounted for."
Paul Bouissac (Hrsg.), The Encyclopedia of Semiotics, New York, Oxford 1998; http://www.code.uni-wuppertal.de/de/computational_design/who/nadin/publications/articles_in_books/design.html [18-04-01]
( Eintrag M. Nadin)

SIMULATION
"[lat.] die,
1) allg.: das Vortäuschen von Zuständen, insbesondere von Krankheiten.
2) Wissenschaft und Technik: die Darstellung oder Nachbildung eines kybernet. Systems (Prozesses) oder bestimmter Aspekte desselben durch ein Modell, das v.a. physikalisch-techn. oder mathematisch-abstrakter Natur sein kann. Simulation erlauben Untersuchungen oder Manipulationen (insbesondere des Zeitverhaltens), deren Durchführung am eigentl. System nicht möglich ist; entsprechende Geräte werden als Simulatoren bezeichnet; Methode des Operationsresearch."
Brockhaus 1999

OPERATIONSRESEARCH
"[':, .] das, Abk. OR (Unternehmensforschung), Teilgebiet der Wirtschaftswiss. mit dem Ziel, auf der Grundlage mathemat. Modelle Handlungsalternativen in Wirtschaft, Verwaltung und bei polit. Planungen zu entwickeln. Verfahren der OR sind die Modelle der mathemat. Programmierung, Netzplanmodelle, Simulation, Entscheidungsbaumverfahren, Modelle des Systems Dynamics, Lagerhaltungs-, Markow-, Warte-, Ersatz- und Spielmodelle. Bes. enge Beziehungen bestehen zw. OR und Wirtschaftsinformatik."
Brockhaus 1999

MODELL
"[italien.] das, Vorbild, Muster, Entwurf von Gegenständen, auch gedankl. Konstruktionen.
1) Kunst: in Malerei und Bildhauerkunst ein Naturgegenstand, bes. der Mensch, als Vorbild künstler. Gestaltung. In der Bildhauerkunst kann das Modell auch ein genaues Vorbild des endgültigen Werkes sein, z.B. ein Gipsmodell, das in Stein oder Holz übertragen oder in Bronze gegossen wird.
2) Mode: der ausgeführte Entwurf der Mode Schaffenden, der als Einzelstück Verwendung findet oder abgewandelt als Vorlage für die serienmäßige Herstellung (Konfektion) dient.
3) Wissenschaften und Technik: materielles oder Gedankenobjekt, das einem Untersuchungsgegenstand in bestimmten Eigenschaften oder Relationen entspricht (Struktur-, Funktions- oder Verhaltensanalogie) und für sonst nicht mögl. oder zu aufwendige experimentelle Untersuchungen, mathemat. Berechnungen, Erklärungs- oder Demonstrationszwecke oder zur Optimierung des Originals verwendet wird. Technische Modelle dienen bes. zur Veranschaulichung von Strukturen und Konstruktionen, zur Unterrichtung und als wiss. Versuchsobjekt (Modellversuche). In der Gießerei werden Modelle zur Herstellung von Gussformen verwendet. Wirtschaftstheoretische Modelle sind ein vereinfachtes Abbild des tatsächl. Wirtschaftsablaufs, z.T. in mathemat. Formulierung."
Brockhaus 1999

AUGMENTED REALITY – MIXED REALITY

"Augmented or mixed reality (AR) research aims to develop technologies that allow to mix or overlap computer generated 2D or 3D virtual objects on the real world. Unlike virtual reality that replaces the physical world, AR enhances the physical reality by integrating virtual objects into the physical world which become in a sense an equal part of our natural environment."
http://www.mic.atr.co.jp/~poup/research/ar/


"mixed reality // noun:
An environment that combines elements of both virtual reality and the real world.
In a conceptual leap that goes even beyond the idea of virtual worlds, the Human Interface Technology Laboratory of the University of Washington will be showing Technology in Bloom. This is an example of augmented reality. The viewer wears goggles that superimpose virtual images onto the real world. So you can see the actual room you are in, decorated with, say, a fetching 3-D virtual shrub (and you don't even have to water it). ... Another mixed reality work on display will be New York artist Camille Utterback's Text Rain, where viewers catch falling virtual letters that appear in a mirror image of themselves."
(Denise Taylor, "Make an exhibit of yourself," The Boston Globe, April 12, 2001)
http://www.wordspy.com/words/mixedreality.asp


"Between the extremes of real life and Virtual Reality lies the spectrum of Mixed Reality, in which views of the real world are combined in some proportion with views of a virtual environment."
(Milgram 1996)
http://vered.rose.utoronto.ca/people/david_dir/SPIE96/SPIE96.full.html


Virtuality Continuum
"Recent research in the field of augmented reality suggests new ways of mixing the real and virtual. Milgram and Kishino introduce the idea of a virtuality continuum whose extremes are characterised by real and virtual environments and at whose center the technology of augmented reality is found [Milgram94]." http://www.crg.cs.nott.ac.uk/research/technologies/mixed/




[ nach: Paul Milgram and Fumio Kishino, "A taxonomy of mixed reality visual displays", in: IEICE (Institute of Electronics, Information and Communication Engineers) Transactions on Information and Systems, Special issue on Networked Reality, E77-D(12), Dec. 1994, S. 1321-1329 ]
http://vered.rose.utoronto.ca/people/paul_dir/SPIE94/SPIE94.full.html

Die Rechenleistung der PCs verdoppelt sich seit den 70er Jahren in schöner Regelmäßigkeit alle 18 Monate. Der Intel-Ingenieur Gordon Moore stellte 1965 in Electronics Magazine die These auf, daß die Größe der Transistoren exponentiell schrumpfe. Alle zwölf Monate verdoppele
sich die Zahl der Schaltungen und damit die Leistung der Microprozessoren.
„Diese damals sehr spekulativ formulierte Behauptung mußte Moore später in der Praxis korrigieren, nachdem die Firma Intel gegründet worden war. Nicht ein Jahr, sondern 18 Monate brauchte es zur Verdoppelung der Transistorendichte, fand er 1971 heraus. Über die Jahrzehnte hat sich Moores Gesetz als ein erstaunlich exaktes Abbild der technischen Entwicklung herausgestellt - so exakt, daß manche das Gesetz inzwischen für harte Physik halten. Vergangene Woche stellte Moore auf einer Konferenz in Wien die neueste Version seines Gesetzes vor: Nur alle 24 Monate verdoppele sich nunmehr die Zahl der Transistoren und damit die Leistung der Chips.“
Detlef Borchers, „Eherne Gesetze“, in: Die Zeit Nr. 38, 10. September 1998, S. 75


PERCEPTIVE COMPUTING

"Perceptive Computing" beschreibt die Vernetzung des Computers mit Sensoren, die dem System erlauben, Umwelteinflüsse (= Kontext) aufzugreifen und zu berücksichtigen. Der Begriff "perceptive" aber scheint unglücklich: "Perzeption" beschreibt Wahrnehmung, und daran gekoppelt ist die Interpretation von Information (Information ç Input/ Data; vgl. selektive Wahrnehmung, Hirnforschung, Reiz-reaktions-Schema usw.)


PERVASIVE COMPUTING (1)

Pervasive computing is the trend towards increasingly ubiquitous (another name for the movement is ubiquitous computing), connected computing devices in the environment, a trend being brought about by a convergence of advanced electronic - and particularly, wireless - technologies and the Internet. Pervasive computing devices are not personal computers as we tend to think of them, but very tiny - even invisible - devices, either mobile or embedded in almost any type of object imaginable, including cars, tools, appliances, clothing and various consumer goods - all communicating through increasingly interconnected networks. According to Dan Russell, director of the User Sciences and Experience Group at IBM's Almaden Research Center, by 2010 computing will have become so naturalized within the environment that people will not even realize that they are using computers. Russell and other researchers expect that in the future smart devices all around us will maintain current information about their locations, the contexts in which they are being used, and relevant data about the users.
The goal of researchers is to create a system that is pervasively and unobtrusively embedded in the environment, completely connected, intuitive, effortlessly portable, and constantly available. Among the emerging technologies expected to prevail in the pervasive computing environment of the future are wearable computers, smart homes and smart buildings. Among the myriad of tools expected to support these are: application-specific integrated circuitry (ASIC); speech recognition; gesture recognition; system on a chip (SoC); perceptive interfaces; smart matter; flexible transistors; reconfigurable processors; field programmable logic gates (FPLG); and microelectromechanical systems (MEMS).
A number of leading technological organizations are exploring pervasive computing. Xerox's Palo Alto Research Center (PARC), for example, has been working on pervasive computing applications since the 1980s. Although new technologies are emerging, the most crucial objective is not, necessarily, to develop new technologies. IBM's project Planet Blue, for example, is largely focused on finding ways to integrate existing technologies with a wireless infrastructure. Carnegie Mellon University's Human Computer Interaction Institute (HCII) is working on similar research in their Project Aura, whose stated goal is "to provide each user with an invisible halo of computing and information services that persists regardless of location." The Massachusetts Institute of Technology (MIT) has a project called Oxygen. MIT named their project after that substance because they envision a future of ubiquitous computing devices as freely available and easily accessible as oxygen is today.
http://searchnetworking.techtarget.com/sDefinition/0,,sid7_gci759337,00.html

UBIQUITOUS COMPUTING (1)

Definition:Computers everywhere. Making many computers available throughout the physical environment, while making them effectively invisible to the user. Ubiquitous computing is held by some to be the Third Wave of computing. The First Wave was many people per computer, the Second Wave was one person per computer. The Third Wave will be many computers per person. Three key technical issues are: power consumption, user interface, and wireless connectivity.
The idea of ubiquitous computing as invisible computation was first articulated by Mark Weiser in 1988 at the Computer Science Lab at Xerox PARC.
http://www.hyperdictionary.com/computing/ubiquitous+computing

UBIQUITOUS COMPUTING (2)

What is Ubiquitous Computing?
Ubiquitous computing, or calm technology, is a paradigm shift where technology becomes virtually invisible in our lives. Instead of having a desk-top or lap-top machine, the technology we use will be embedded in our environment. From the ubiquitous computing page at Xerox PARC [UBPARC] we have the following description: imagine a world with hundreds of wireless computing devices of different sizes in the same room. In order to bring this type of computing out into the environment, among the things we need to rethink are user interfaces, displays, operating systems, networks, and wireless communications.
This rethinking demands a radical departure from the tradition of putting machines out for our use, and having us adapt to them. Instead, in the world of ubiquitous computing, technology will be implicit in our lives, built in to the things we use, including the spaces. The proponents of this technology hold that this type of computing will be a more natural tool, and thus a more powerful and effective one for us to use.
Now that it is defined, what are some uses envisioned by its proponents and authors? In 1991 Mark Weiser, thought of as the founder of what we now term ubiquitous computing, wrote an article for Scientific American entitled "The Computer for the 21st Century". In it, Weiser describes the multiple computers in a room as tabs, pads and boards, which roughly correspond to active Post-It notes, sheets of paper, and white boards and bulletin boards. A good description of these items can be found in the article "Some Computer Science Issues in Ubiquitous Computing". These computers serve many functions as people come in and out of the rooms. The people themselves could be tracked by active badges (based on infrared sensors) or other devices, and email could be forwarded automatically to wherever the person is. Locating people at work to deliver important messages, or for other reasons, is made easy. (The possible misuses of these capabilities are probably entering the reader's mind at this point. This concern will be discussed in the Issues and Concerns section below.
Other scenarios given in the article include the coffee starting at your request when the alarm wakes you, seeing "electronic trails" left by people passing through the neighborhood, and automatically transmitting a quote from a newspaper to the office with the swipe of a pen over the newspaper.
With these definitions and examples, we have an idea of what ubiquitous computing is, and what it hopes to achieve. To see how it has evolved, we'll now look at its history.
Marcia Riley, Ubiquitous Computing: An Interesting New Paradigm, http://www.cc.gatech.edu/classes/cs6751_97_fall/projects/say-cheese/marcia/mfinal.html#definition


UBIQUITOUS COMPUTING (3)