- Museum Studies, Museum learning, Visitor studies, Experience Design, Media theory and Research, New Media Art, and 32 moreInteraction Design, Mobile Learning, Social Sciences, User Experience (UX), Evaluation, Digital Media, Spatial Story Telling, Narrative and Design, Gesture, Sound, Virtual Worlds, Game Spaces, New Media, Embodiment, Art and technology, Multimedia, Design, User, Experience, Interaction, Interactivity, HCI, Interface, Empathic, Usability, Digital, User-Centered, Information Technology, User Studies, Immersion and Experience, User Experience Design, and Engineeringedit
- Passionate about Arts, Culture and the "design" of meaningful, interactive and rewarding museum visiting experiences.... morePassionate about Arts, Culture and the "design" of meaningful, interactive and rewarding museum visiting experiences. I am both fascinated and intrigued by the process of meaning making cognitively but also emotionally and affectively. As a museum professional, I believe that human beings carry an innate and constant desire for learning, making sense of the world and constructing meanings. Understanding how multisensoriality, museum interactives and digital technologies can assist us in shaping both affective and effective interactive experiences in all sorts of cultural and artistic contexts constitutes one of my main research interests.edit
Editorial for the International Journal of Human-Computer Interaction Special Issue on Advanced Interaction in Cultural Heritage with a critical presentation and overview of the nine works featured in the Special Issue.
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Digital technologies are being introduced in museums and other informal learning environments alongside more traditional interpretive and communication media. An increasing number of studies has proved the potential of digitally mediated... more
Digital technologies are being introduced in museums and other informal learning environments alongside more traditional interpretive and communication media. An increasing number of studies has proved the potential of digitally mediated cultural heritage experiences. However, there is still a lot of controversy as to the advantages and disadvantages of introducing the digital into museum settings, primarily related to the risks and investment in terms of time and human and financial resources required. This work introduces the MUSETECH model, a comprehensive framework for evaluating museum technology
before and after its introduction into a museum setting. One of the unique features of our framework is to consider the evaluation of digital technologies from three different perspectives: the cultural heritage professional, cultural heritage institution, and museum visitor. The framework benefited from an extensive review of the current state of the art and from inputs from cultural heritage professionals, designers, and engineers. MUSETECH can be used as a tool for reflection before,
during, and after introducing novel digital media resources. The model covers technologies as diverse as mobile museum guides, Augmented and Virtual Reality applications, hands-on museum interactives, edutainment applications, digitally mediated tangible and embodied experiences, or online approaches used for museum education and learning.
before and after its introduction into a museum setting. One of the unique features of our framework is to consider the evaluation of digital technologies from three different perspectives: the cultural heritage professional, cultural heritage institution, and museum visitor. The framework benefited from an extensive review of the current state of the art and from inputs from cultural heritage professionals, designers, and engineers. MUSETECH can be used as a tool for reflection before,
during, and after introducing novel digital media resources. The model covers technologies as diverse as mobile museum guides, Augmented and Virtual Reality applications, hands-on museum interactives, edutainment applications, digitally mediated tangible and embodied experiences, or online approaches used for museum education and learning.
Research Interests: Information Technology, Digital Humanities, Usability, Assessment, Cultural Heritage, and 15 moreUser Experience (UX), Evaluation, Experience Design, Cultural Informatics, Museums and Exhibition Design, Digital Heritage, Learning in Informal Settings, Immersion and Experience, Digital Communication, Museums, Virtual Museums, Audience Research, Digital Marketing, Utility, and Arts and Humanities
The “Companion” provides step-by-step guidance to the MUSETECH model, devised as a tool for planning the evaluation of technologies applied in museums and heritage settings. We use the term “museum technology” to refer to any type of... more
The “Companion” provides step-by-step guidance to the MUSETECH model, devised as a tool for planning the evaluation of technologies applied in museums and heritage settings. We use the term “museum technology” to refer to any type of online or onsite interactive, application or installation encountered in museums or other heritage institutions.
The MUSETECH model offers an exhaustive list of 121 Evaluation Criteria that may guide the evaluation of various embodiments of museum technology. Underpinning the model is the belief that planning for successful museum technologies involves three different perspectives. These three perspectives are symbiotic and complementary in planning, deploying and evaluating museum technology. The three different “Perspectives” are the following:
1. The perspective of the Cultural Heritage Professional (CHP)
2. The perspective of the Museum as an Institution (M)
3. The perspective of the Visitor (V)
The model also considers four different phases or constituents in the life-cycle of any museum technology embodiment. We call these “Quartiles”. These are the following:
- The Design Quartile (D)
- The Content Quartile (C)
- The Operation Quartile (Q)
- The Compliance Quartile: (MP)
Each Quartile contains a number of Evaluation Criteria (ECs), thematically grouped in categories, called “Clusters”.
The MUSETECH model offers an exhaustive list of 121 Evaluation Criteria that may guide the evaluation of various embodiments of museum technology. Underpinning the model is the belief that planning for successful museum technologies involves three different perspectives. These three perspectives are symbiotic and complementary in planning, deploying and evaluating museum technology. The three different “Perspectives” are the following:
1. The perspective of the Cultural Heritage Professional (CHP)
2. The perspective of the Museum as an Institution (M)
3. The perspective of the Visitor (V)
The model also considers four different phases or constituents in the life-cycle of any museum technology embodiment. We call these “Quartiles”. These are the following:
- The Design Quartile (D)
- The Content Quartile (C)
- The Operation Quartile (Q)
- The Compliance Quartile: (MP)
Each Quartile contains a number of Evaluation Criteria (ECs), thematically grouped in categories, called “Clusters”.
Research Interests: Human Computer Interaction, Educational Technology, Digital Humanities, Museum learning, Assessment, and 15 moreDigital Media, Interaction Design, Measurement and Evaluation, Information Communication Technology, Evaluation, Interactive and Digital Media, Digital Heritage, Digital Cultural Heritage, Museums, Audience Research, NEW TECHNOLOGY IN THE MUSEUM, Museum and Heritage Studies, Digital Media and Learning, Interactivity, and Evaluation Model
Cultural heritage communities of interest have increasingly expanded from cultural heritage professionals to volunteers, special interest groups and independent citizen-led initiative groups. Digital technology has also increasingly... more
Cultural heritage communities of interest have increasingly expanded from cultural heritage professionals to volunteers, special interest groups and independent citizen-led initiative groups. Digital technology has also increasingly impacted cultural heritage by affording novel experiences of it – it features in a number of activities for all the aforementioned groups, as well as acting as support for visitors to cultural heritage centres.
With different degrees of formality and training, these communities are increasingly defining and taking ownership of what is of value to them, thus reconfiguring the care, communication, interpretation and validation of heritage. Digital technology has played a crucial role in this transformative process.
In a fully international context, cultural heritage practitioners, community champions and academics from different fields of study have contributed to this book. Each chapter brings to the fore the multiple relationships between heritage, communities and technologies as a focus of study and reflection in an inclusive way. Contributions touch upon present and future opportunities for technology, as well as participatory design processes with different stakeholders.
This book brings together ideas from different disciplines, cultures, methods and goals, to inspire scholars and practitioners involved in community heritage projects.
With different degrees of formality and training, these communities are increasingly defining and taking ownership of what is of value to them, thus reconfiguring the care, communication, interpretation and validation of heritage. Digital technology has played a crucial role in this transformative process.
In a fully international context, cultural heritage practitioners, community champions and academics from different fields of study have contributed to this book. Each chapter brings to the fore the multiple relationships between heritage, communities and technologies as a focus of study and reflection in an inclusive way. Contributions touch upon present and future opportunities for technology, as well as participatory design processes with different stakeholders.
This book brings together ideas from different disciplines, cultures, methods and goals, to inspire scholars and practitioners involved in community heritage projects.
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This contribution aims to provide an Introduction in Augmented Reality (AR) and Cultural Heritage for museum curators, museum educators, artists and art historians. It can also serve as an introduction for engineers, software and hardware... more
This contribution aims to provide an Introduction in Augmented Reality (AR) and Cultural Heritage for museum curators, museum educators, artists and art historians. It can also serve as an introduction for engineers, software and hardware specialists seeking to understand the ways through which AR has so far been applied within Cultural Heritage contexts. The volume was released by the Spanish Ministry of Culture and was made possible through the coordinated efforts of Ana Cabrera Lafuente, Isabel Rodriguez Marco and Cristina Villar Fernandez of the Spanish National Museum of Decorative Arts in Madrid (Muceo Nacional de Artes Decorativas).
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Cultural institutions have sought to develop social media as a means of engaging with their audiences. However, there is a lack of guidance about how to effectively evaluate performance. A study was carried out to explore contemporary... more
Cultural institutions have sought to develop social media as a means of engaging with their audiences. However, there is a lack of guidance about how to effectively evaluate performance. A study was carried out to explore contemporary practices in cultural institutions to better understand the challenges, methods, and strategies. This involved in-depth interviews with social media managers at eight Scottish institutions and a worldwide survey of one hundred organisations. The participants were asked about how they use social media, what their objectives are, and whether use of frameworks, toolkits, and strategies were useful or indeed feasible. Results showed that despite various approaches, many institutions share priorities and challenges. Although some preferred to be flexible, while others more regimented, there is consensus that social media helps deliver on wider institutional goals and strategies. There is also evidence that institutions want to better understand the impact o...
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Providing engaging interpretation resources for museum and gallery visitors may have a great impact on the overall museum visiting experience all by assisting museums in maintaining long-term relationships with their public. This paper... more
Providing engaging interpretation resources for museum and gallery visitors may have a great impact on the overall museum visiting experience all by assisting museums in maintaining long-term relationships with their public. This paper focuses on the ways through which AR can be employed in museum and gallery settings as an interpretation medium. It also introduces a new generation of multimedia guides for the museum visit inspired by the concept of Adaptive Augmented Reality (A2R). Adaptive Augmented Reality (A2R) provides visual and acoustic augmentations that come to supplement the artefact or site viewed by a museum or gallery visitor and monitors the cognitive and affective impact of all interactions of the museum visitor both with the physical and the digital environment. The ultimate goal is to make every museum visit unique, by tailoring an Augmented Reality visit with contents that are susceptible to increase the affective impact of the augmented museum visiting experience ...
Research Interests: Eye tracking, Machine Learning, Data Mining, Cultural Heritage, Augmented Reality, and 12 moreAccess Control, Cloud Computing, Museums, Smart spaces, Cyber Physical Systems, Complex Event Processing, Cyber Security, Semantic Computing, Biosensing, VoIP/SIP/IMS, Distributed Information Systems, and RFID and Sensor Networks
This paper advances the state of the art in games design of serious pervasive games. We analyze the game design of the two serious pervasive games built during the "PLUG, Play Ubiquitous Games and play more" project. We compare... more
This paper advances the state of the art in games design of serious pervasive games. We analyze the game design of the two serious pervasive games built during the "PLUG, Play Ubiquitous Games and play more" project. We compare their desired objectives to the really completed ones. We then conclude with a section on what serious pervasive game design should be.
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Research Interests: Gender Equality and Audit
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With the advent of digital museum interactives as a widely available learning offer in all types of museums, including history of art and archaeology museums, an ongoing debate has been established: Do these-usually screen-based-museum... more
With the advent of digital museum interactives as a widely available learning offer in all types of museums, including history of art and archaeology museums, an ongoing debate has been established: Do these-usually screen-based-museum interactives assist visitors in focusing on museum objects and artefacts? Or do they distract and take away the attention from the real museum objects on display? We present the Loupe, a tangible Augmented Reality prototype in form of a magnifying lens, which allows museum visitors to get information in context about museum artefacts. We detail the design and content creation process that was employed in order to create a thematic tour for the Greek Gallery of Allard Pierson Museum in Amsterdam. An evaluation study with 22 adult participants was carried out, using both qualitative and quantitative evaluation methods, so as to explore the utility and usability of the Loupe as well its learning and affective impact. Our findings suggest that the accepta...
Research Interests: Sociology, Museum learning, Museum Studies, Visitor studies, Embodied Cognition, and 11 moreAugmented Reality, Evaluation, Museums and Exhibition Design, Usability and user experience, Museum Interpretation, Tangible User Interfaces, Embodied Interaction, Emotions, Learning and Visitor Studies in Museums and Galleries, Tangible Interaction, and Interactive and Digital Installations In Museums
One of the least explored RFID application-domains concerns the areas of entertainment and culture. This paper proposes a mobile application -conceived for and with a contemporary artist- allowing the spatial annotation of paintings and... more
One of the least explored RFID application-domains concerns the areas of entertainment and culture. This paper proposes a mobile application -conceived for and with a contemporary artist- allowing the spatial annotation of paintings and the delivery of multimedia related interpretation material to the concerned public, through the combined use of RFID tags and NFC (Near Field Communication) mobile phones, serving as delivery platforms. The paper reports on the design and implementation of the application as well as on the results of a first, proof-of-concept, evaluation.
Research Interests:
With the advent of digital museum interactives as a widely available learning offer in all types of museums, including history of art and archaeology museums, an ongoing debate has been established: Do these - usually screen-based -... more
With the advent of digital museum interactives as a widely available learning offer in all types of museums, including history of art and archaeology museums, an ongoing debate has been established: Do these - usually screen-based - museum interactives assist visitors in focusing on museum objects and artefacts? Or do they distract and take away the attention from the real museum objects on display? We present the Loupe, a tangible Augmented Reality prototype in form of a magnifying lens, which allows museum visitors to get information in context about museum artefacts. We detail the design and content creation process that was employed in order to create a thematic tour for the the Greek Gallery of Allard Pierson Museum in Amsterdam. An evaluation study with 22 adult participants was carried out, using both qualitative and quantitative evaluation methodologies, so as to explore the utility and usability of the Loupe as well its learning and affective impact. Our findings suggest th...
Research Interests: Sociology, Museum learning, Museum Studies, Visitor studies, Embodied Cognition, and 11 moreAugmented Reality, Evaluation, Museums and Exhibition Design, Usability and user experience, Museum Interpretation, Tangible User Interfaces, Embodied Interaction, Emotions, Learning and Visitor Studies in Museums and Galleries, Tangible Interaction, and Interactive and Digital Installations In Museums
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A. Damala, I. Astic, C. Aunis: PLUG, Université Paris Nuit: A Design Reiteration of a Mobile Museum Edutainment Application. In: VAST'10, Virtual Reality, Archaeology and Cultural Heritage, The 8th EUROGRAPHICS Workshop on Graphics and Cultural Heritage, Short and Project Papers, Paris, France, S...more
Page 1. xi International Program Committee and Reviewers Carlos Andujar Universitat Politècnica de Catalunya, Spain Christoph Anthes Johannes Kepler University Linz, Austria Dey Arindam University of South Australia, Australia Clemens... more
Page 1. xi International Program Committee and Reviewers Carlos Andujar Universitat Politècnica de Catalunya, Spain Christoph Anthes Johannes Kepler University Linz, Austria Dey Arindam University of South Australia, Australia Clemens Arth Graz University of Technology, Austria Mark Ashdown Thales Research and Technology, United Kingdom Ronald Azuma Nokia Research Lab Hollywood, USA Yohan Baillot Simulation3D, USA Istvan Barakonyi Magitech GmbH, Austria Michel Beaudouin University of Paris-Sud, France ...
A large section of the cultural heritage sector not usually thought of as Cultural Heritage is the contemporary and temporary art galleries and spaces. Many such institutions do not have traditional collection mechanisms nor permanent... more
A large section of the cultural heritage sector not usually thought of as Cultural Heritage is the contemporary and temporary art galleries and spaces. Many such institutions do not have traditional collection mechanisms nor permanent artefacts and exhibitions, but rather a rolling programme constantly in flux. This represents a new challenge in terms of a systemised approach to learning and public engagement strategies, but also offers an opportunity to propose new learning and engagement mechanisms through the prism of its one unique selling point– the artistic creative engagement of artists and art practitioners. This paper examines the potential of Augmented Reality for the museum and gallery visiting experience focusing particularly on the ways through which AR as an emerging technology may inform emerging art practices all by encouraging public participation and engagement with art.
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The paper presents the new concept of Adaptive Augmented Reality (A 2 R), employed within the context of the creation of an AR guide for the museum visit, that is being developed in the context of an EU research project. The main... more
The paper presents the new concept of Adaptive Augmented Reality (A 2 R), employed within the context of the creation of an AR guide for the museum visit, that is being developed in the context of an EU research project. The main objective of the project is to provide a prototype that enables a personalized experience for every individual visitor by adapting to the psychological state of the visitor the content presented through an augmented reality museum guidance system.
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What is the potential of mobile edutainment applications introduced in the informal learning environment of the museum setting? This short paper proposes to shed light on this issue by presenting a design reiteration of a mobile... more
What is the potential of mobile edutainment applications introduced in the informal learning environment of the museum setting? This short paper proposes to shed light on this issue by presenting a design reiteration of a mobile edutainment application designed for a European Science Museum, by particularly insisting on the ways the design, implementation and evaluation of a first mobile serious game, informed the conception of a second game version. The latter has already been proposed to the museum public in four demonstration sessions that provided some first feedback on the acceptance and usability of the proposed mobile application.
Research Interests:
Though digital interactive technologies have become more common and widespread in museum exhibitions and spaces, they are usually detached from the museum artefacts on display and are primarily used as a communication medium targeting... more
Though digital interactive technologies have become more common and widespread in museum exhibitions and spaces, they are usually detached from the museum artefacts on display and are primarily used as a communication medium targeting mainly the visitors’ visual and aural senses. However, a wealth of evidence suggests the benefits of multifaceted physical interaction with museum exhibitions and exhibits. Could smart objects and smart exhibits be interweaved with museum exhibitions and museum artefacts in order to create rich, multi-sensory museum narratives that would favour tangible interaction with the objects on display by stimulating and engaging the visitor physically but also emotionally and cognitively all by taking under consideration the physical, personal and social context of the visit? This contribution presents the meSch (Material Encounters with Cultural Heritage) EU project that aims to empower Cultural Heritage (CH) professionals to create tangible exhibits through the use of easy-to-use authoring tools that also cater for the reuse of content from public Cultural Heritage repositories. The project features a co-design approach in which communities of CH professionals as well as designers, artists and engineers work together to develop DIY (Do-It-Yourself) technologies for a new generation of smart, adaptive exhibits.
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This paper explores the potential of tangible and embodied interaction for encouraging a multisensory engagement with museum objects and artefacts on display, by means of focusing on the subtleties of devising and planning for evaluation... more
This paper explores the potential of tangible and embodied interaction for encouraging a multisensory engagement with museum objects and artefacts on display, by means of focusing on the subtleties of devising and planning for evaluation and audience research. Measuring the impact of new technologies is one of the main challenges identified in the 2015 NMC Horizon report (Museum Edition). The challenge is even greater for emerging concepts, technologies, and approaches, such as the use of tangible and embodied interaction in museums and other Cultural Heritage settings. Taking as an example two case-studies from the EU meSch project, from Museon and Allard Pierson Museum in the Netherlands, we discuss our plan for devising and carrying out audience research so as to “document,” analyse, and interpret the impact of digitally enhanced, tangible, embodied, and multisensory museum visiting experiences. Our intention is to provide an honest account of the different strengths and weakness...
Research Interests: Engineering, Museum learning, Museum Studies, Digital Curation, Qualitative methodology, and 15 moreInteraction Design, Evaluation, Co Creation, Experience Design, Ethnomethodology, Multimodality, Qualitative Research Methods, Museology, Embodied Interaction, Multidisciplinary design practices, Observation, Museum and Heritage Studies, Evaluation methods, Learning and Visitor Studies in Museums and Galleries, and Interactive and Digital Installations In Museums
This is a short presentation of CEDRIC's art and cultural heritage activities and projects that took place in the ISEA 2011 conference, within the context of the "Supporting a Network of Excellence in Interactive Art"... more
This is a short presentation of CEDRIC's art and cultural heritage activities and projects that took place in the ISEA 2011 conference, within the context of the "Supporting a Network of Excellence in Interactive Art" workshop. It provides a short overview of important projects before focusing on the EU ARtSENSE project, as an example of a project mobilising all existing know-how and knowledge of the CEDRIC laboratory in the domain of museum visiting, contemporary art and aesthetic experiences.
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This chapter provides an introduction to augmented reality and cultural heritage for curators, art historians and museum educators
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Augmented Reality (AR), a computer science field considered by many as a subfield of the broader concept of Mixed Reality, could alter dramatically the way we interact not only with computers but also with the real environment surrounding... more
Augmented Reality (AR), a computer science field considered by many as a subfield of the broader concept of Mixed Reality, could alter dramatically the way we interact not only with computers but also with the real environment surrounding us, as well as with other human beings. Augmented Reality has so far been used for applications linked with military training, medicine, maintenance, architecture and urban planning, tourism, and entertainment. This last category embraces museums, considered by many not only as research and exhibition spaces but also as important informal learning environments. Does Augmented Reality has the potential to break into museum and exhibition environments and revolutionize the way we see, approach and comprehend the exposed exhibits, alongside with more traditional interpretation and communication methods? This presentation examines both the state of the art in Augmented Reality Applications for Cultural Heritage and Mobile Multimedia Guides for the muse...
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ABSTRACT In providing learning materials for the digital era, a thorough knowledge of the context and the conditions under which the learning process takes place is essential. This is especially true for museums, informal learning... more
ABSTRACT In providing learning materials for the digital era, a thorough knowledge of the context and the conditions under which the learning process takes place is essential. This is especially true for museums, informal learning environments open to a public of all backgrounds and ages, where one of the latest trends observed is the use of mobile multimedia guides as communication and interpretation means. The body of literature is steadily growing; however, most studies focus either on purely technical or human computer interaction issues while there has been little concern on museum learning theories and visitor studies, as to which lessons could be learned in order to inform the design of a mobile museum guide. This reflection paper aims to provide a first approach on this topic and serve first as a stimulus and then as a discussion basis both for museum specialists as well as IT professionals implicated in the design of mobile museum guides.
The MUSETECH model was originally published in the JOCCH Special Issue “The Evaluation of Digital Heritage Resources”, under the title: “The MUSETECH model: AC omprehensive Evaluation Framework for Museum Technology.”... more
The MUSETECH model was originally published in the JOCCH Special Issue “The Evaluation of Digital Heritage Resources”, under the title: “The MUSETECH model: AC omprehensive Evaluation Framework for Museum Technology.” https://doi.org/10.1145/3297717 The original publication is accompanied by the present document, “The Companion”. The “Companion” provides step - by - step guidance to the MUSETECH model, devised as a tool for planning the evaluation of technologies applied in museums and heritage settings . We use the term “museum technology” to refer to any type of online or onsite interactive, application or installation encountered in museums or other heritage institutions. The MUSETECH model offers an exhaustive list of 121 Evaluation Criteria that may guide the evaluation of various embodiments of museum technology.
Research Interests: Computer Science, Human Computer Interaction, Educational Technology, Digital Humanities, Museum learning, and 15 moreAssessment, Digital Media, Interaction Design, Measurement and Evaluation, Information Communication Technology, Evaluation, Interactive and Digital Media, Digital Heritage, Digital Cultural Heritage, Museums, Audience Research, Museum and Heritage Studies, Digital Media and Learning, Interactivity, and Evaluation Model
A. Damala, C. Bouville: Converging towards broadband, augmented and platform independent "intelligent" cultural heritage applications. Digital Applications for Tangible Cultural Heritage: Report in the State of the Union. Policies, Practices and Developments in Europe, EPOCH Survey 2004/2005, Bud...more
Research Interests:
Augmented Reality (AR), a computer science field considered by many as a subfield of the broader concept of Mixed Reality, could alter dramatically the way we interact not only with computers but also with the real environment surrounding... more
Augmented Reality (AR), a computer science field considered by many as a subfield of the broader concept of Mixed Reality, could alter dramatically the way we interact not only with computers but also with the real environment surrounding us, as well as with other human beings. Augmented Reality has so far been used for applications linked with military training, medicine, maintenance, architecture and urban planning, tourism, and entertainment. This last category embraces museums, considered by many not only as research and exhibition spaces but also as important informal learning environments. Does Augmented Reality has the potential to break into museum and exhibition environments and revolutionize the way we see, approach and comprehend the exposed exhibits, alongside with more traditional interpretation and communication methods? This presentation examines both the state of the art in Augmented Reality Applications for Cultural Heritage and Mobile Multimedia Guides for the muse...
M. Brelot, A. Cotarmanach, A. Damala, and H. Kockelcorn: Nomadic computing in indoor cultural settings: Intelligent connectivity, context awareness and the mobile museum experience. In ICHIM 2005 (International Cultural Heritage Informatics Meeting), Paris, 2005, Archives and Museum Informatics E...more
The IST European co-funded project DANAE is providing a full framework for the dynamic and distributed adaptation of scalable multimedia content based on media streaming technologies. It forms the backbone for the public release of a... more
The IST European co-funded project DANAE is providing a full framework for the dynamic and distributed adaptation of scalable multimedia content based on media streaming technologies. It forms the backbone for the public release of a nomadic, interactive, multimedia guide that is expected to reach its final form by mid 2006 in the framework of an experimental deployment at the Museon. By using technological bricks provided by all partners involved in the DANAE project, this interactive guide will take advantage of the best of the wireless connectivity and multimedia capabilities of the new devices to offer innovative and therefore largely unexplored ways of presenting information. It will use for example 3D avatars for presenting the information and will deal as well with real time visitor contextual parameters. Other key issues like content creation techniques, content adaptation, dynamic update of multimedia applications and interactive presentation design will be also discussed i...
A. Damala, N. Stojanovic, T. Schuchert, J. Moragues, A. Cabrera, K.Gilleade: Adaptive Augmented Reality for Cultural Heritage, The ARtSENSE project. In: M. Ioannides et al. (Eds.): EuroMed 2012 Conference Proceedings, Limassol, Cyprus, LNCS 7616, Springer-Verlag Berlin-Heidelberg 2012, pp. 746–75...more
A. Damala, P. Cubaud, A. Bationo, P. Houlier and I. Marchal: Bridging the Gap between the Digital and the Physical: Design and Evaluation of a Mobile Augmented Reality Guide for the Museum Visit. In: DIMEA'08, 3rd International Conference on Digital Interactive Media in Entertainment and Arts, At...more
Can Augmented Reality (AR) techniques inform the design and implementation of a mobile multimedia guide for the museum setting? Drawing from our experience both on previous mobile museum guides projects and in AR technology, we present a... more
Can Augmented Reality (AR) techniques inform the design and implementation of a mobile multimedia guide for the museum setting? Drawing from our experience both on previous mobile museum guides projects and in AR technology, we present a fully functional prototype of an AR-enabled mobile multimedia museum guide, designed and implemented for the Museum of Fine Arts in Rennes, France. We report on the life cycle of the prototype and the methodology employed for the AR approach as well as on the selected mixed method evaluation process; finally, the first results emerging from quantitative evaluation are discussed, supported by evidence and findings from the qualitative part of the assessment process. We conclude with lessons learned during the full circle of conception, implementation, testing and assessment of the guide.
ABSTRACT The paper presents the new concept of Adaptive Augmented Reality (A2R), employed within the context of the creation of an AR guide for the museum visit. The augmentations provided are not only visual but also acoustic, while the... more
ABSTRACT The paper presents the new concept of Adaptive Augmented Reality (A2R), employed within the context of the creation of an AR guide for the museum visit. The augmentations provided are not only visual but also acoustic, while the interest of the visitor is also monitored using physiological sensors, so that the multimedia content delivered to the visitor's see-through AR display with which she can interact through gesture interaction can be adapted according to her engagement and interests. A theoretical framework is provided together with an overview of the system architecture. This contribution focuses on the interdisciplinary, collaborative and UC-informed methodology employed for the identification and elicitation of the motivations and needs of the Cultural Heritage professionals as to the potential of the A2R approach for the museum visit.
The paper presents the new concept of Adaptive Augmented Reality (A2R), employed within the context of the creation of an AR guide for the museum visit. The augmentations provided are not only visual but also acoustic, while the interest... more
The paper presents the new concept of Adaptive Augmented Reality (A2R), employed within the context of the creation of an AR guide for the museum visit. The augmentations provided are not only visual but also acoustic, while the interest of the visitor is also monitored using physiological sensors, so that the multimedia content delivered to the visitor's see-through AR display with which she can interact through gesture interaction can be adapted according to her engagement and interests. A theoretical framework is ...
Research Interests:
I. Astic, C. Aunis, A. Damala, E. Gressier-Soudan: A ubiquitous mobile edutainment application for learning science through play. In: Museums and the Web 2011, Archives and Museum Informatics, April 2011, Philadelphia, USA. Available at: http://conference.archimuse.com/mw2011/papers/a_ubiquitous_...more
A. Damala, I. Astic, C. Aunis: PLUG, Université Paris Nuit: A Design Reiteration of a Mobile Museum Edutainment Application. In: VAST'10, Virtual Reality, Archaeology and Cultural Heritage, The 8th EUROGRAPHICS Workshop on Graphics and Cultural Heritage, Short and Project Papers, Paris, France, S...more
What is the potential of mobile edutainment applications introduced in the informal learning environment of the museum setting? This short paper proposes to shed light on this issue by presenting a design reiteration of a mobile... more
What is the potential of mobile edutainment applications introduced in the informal learning environment of the museum setting? This short paper proposes to shed light on this issue by presenting a design reiteration of a mobile edutainment application designed for a European Science Museum, by particularly insisting on the ways the design, implementation and evaluation of a first mobile serious game, informed the conception of a second game version. The latter has already been proposed to the museum public in four demonstration sessions that provided some first feedback on the acceptance and usability of the proposed mobile application.
Le projet PLUG (PLay Ubiquitous Games and play more) était un projet supporté par l’ANR (Agence Nationale de la Recherche). Il a duré 27 mois, de janvier 2008 à mars 2010, et correspond à un budget de 400 K€ environ. Deux types de... more
Le projet PLUG (PLay Ubiquitous Games and play more) était un projet supporté par l’ANR (Agence Nationale de la Recherche). Il a duré 27 mois, de janvier 2008 à mars 2010, et correspond à un budget de 400 K€ environ. Deux types de partenaires constituaient le consortium : des partenaires académiques (l’université de La Rochelle-L3i, l’institut Telecom et le Conservatoire national des Arts et Métiers), des industriels (le studio de jeux vidéo TetraEdge, Orange) et une association (Dune Aventures). L’objectif du projet était d’étudier de nouvelles façons d’interagir avec un musée, de valoriser ses contenus et d’élaborer une médiation innovante à travers une approche jeux pervasifs/serious games qui combinerait harmonieusement pédagogie et plaisir de jouer. Le consortium reflétait la diversité des compétences nécessaires : évaluation des usages, design d’interaction, design de lieux, game design, scénarisation de jeux grandeur nature, adaptabilité du game design en fonction du joueur, patrimoine et contenus numériques, médiation culturelle, approche opérateur de réseaux mobiles et services associés, systèmes informatiques mobile.
Research Interests:
With the advent of digital museum interactives as a widely available learning offer in all types of museums, including history of art and archaeology museums, an ongoing debate has been established: Do these-usually screen-based-museum... more
With the advent of digital museum interactives as a widely available learning offer in all types of museums, including history of art and archaeology museums, an ongoing debate has been established: Do these-usually screen-based-museum interactives assist visitors in focusing on museum objects and artefacts? Or do they distract and take away the attention from the real museum objects on display? We present the Loupe, a tangible Augmented Reality prototype in form of a magnifying lens, which allows museum visitors to get information in context about museum artefacts. We detail the design and content creation process that was employed in order to create a thematic tour for the Greek Gallery of Allard Pierson Museum in Amsterdam. An evaluation study with 22 adult participants was carried out, using both qualitative and quantitative evaluation methods, so as to explore the utility and usability of the Loupe as well its learning and affective impact. Our findings suggest that the acceptance of the Loupe as a museum interactive and learning resource, was related both with its qualities as a tangible as well as with the structure of the content and the narratives revealed.
Research Interests:
Cultural institutions have sought to develop social media as a means of engaging with their audiences. However, there is a lack of guidance about how to effectively evaluate performance. A study was carried out to explore contemporary... more
Cultural institutions have sought to develop social media as a means of engaging with their audiences. However, there is a lack of guidance about how to effectively evaluate performance. A study was carried out to explore contemporary practices in cultural institutions to better understand the challenges, methods, and strategies. This involved in-depth interviews with social media managers at eight Scottish institutions and a worldwide survey of one hundred organisations. The participants were asked about how they use social media, what their objectives are, and whether use of frameworks, toolkits, and strategies were useful or indeed feasible. Results showed that despite various approaches, many institutions share priorities and challenges. Although some preferred to be flexible, while others more regimented, there is consensus that social media helps deliver on wider institutional goals and strategies. There is also evidence that institutions want to better understand the impact of their social media but often have problems capturing or interpreting relevant data, and all institutions are responsive to tools that might help them do this. The research tested the principles of one tool in particular, the Culture24 Evaluation Framework. Discussions with participants revealed that while its concepts were relevant and valuable, there remained issues with how it could be implemented, given incongruity with existing operations. Consequently, the research proposes recommendations for developments in social media and evaluative frameworks. The research concludes that institutions that have more defined strategy, even if practices remain flexible, are more decisive and effective in their use of social media. Having objectives and cycles allows better implementation of specific tools and frameworks. Furthermore, careful consideration of the functionality of specific social media platforms allows them to more effectively address specific targets and metrics.
Research Interests:
This paper explores the potential of tangible and embodied interaction for encouraging a multisensory engagement with museum objects and artefacts on display, by means of focusing on the subtleties of devising and planning for evaluation... more
This paper explores the potential of tangible and embodied interaction for encouraging a multisensory engagement with museum objects and artefacts on display, by means of focusing on the subtleties of devising and planning for evaluation and audience research. Measuring the impact of new technologies is one of the main challenges identified in the 2015 NMC Horizon report (Museum Edition). The challenge is even greater for emerging concepts, technologies, and approaches, such as the use of tangible and embodied interaction in museums and other Cultural Heritage settings. Taking as an example two case-studies from the EU meSch project, from Museon and Allard Pierson Museum in the Netherlands, we discuss our plan for devising and carrying out audience research so as to " document, " analyse, and interpret the impact of digitally enhanced, tangible, embodied, and multisensory museum visiting experiences. Our intention is to provide an honest account of the different strengths and weaknesses encountered for all evaluation methodologies that were used, namely observations, interviews, video data, questionnaires, meaning maps, and post-visit interviews. We also share and discuss lessons learned, insights and best practices that could be of benefit for museum and audience research professionals.
Research Interests:
How should one design educational games for learning in museums? This paper advances the state of the art in games design of serious pervasive games. We analyze the game design of the two serious pervasive games built during the "PLUG,... more
How should one design educational games for learning in museums?
This paper advances the state of the art in games design of serious pervasive games. We analyze the game design of the two serious pervasive games built during the "PLUG, Play Ubiquitous Games and play more" project. We compare their desired objectives to the really completed ones. We then conclude with a section on what serious pervasive game design should be.
This paper advances the state of the art in games design of serious pervasive games. We analyze the game design of the two serious pervasive games built during the "PLUG, Play Ubiquitous Games and play more" project. We compare their desired objectives to the really completed ones. We then conclude with a section on what serious pervasive game design should be.
Research Interests:
Can tangible and embodied interaction encourage a multisensory engagement in Cultural Heritage settings? And help us restore an aura of authenticity and materiality in the encounters of museum visitors with digital interpretation media... more
Can tangible and embodied interaction encourage a multisensory engagement in Cultural Heritage settings? And help us restore an aura of authenticity and materiality in the encounters of museum visitors with digital interpretation media and the real museum objects and artefacts on display?
This contribution focuses on the case study of the EU funded meSch project (material encounters with digital cultural heritage) examining closer the Loupe prototype and a visitor study carried out at Allard Pierson Museum in Amsterdam.
This contribution focuses on the case study of the EU funded meSch project (material encounters with digital cultural heritage) examining closer the Loupe prototype and a visitor study carried out at Allard Pierson Museum in Amsterdam.
Research Interests:
With the advent of digital museum interactives as a widely available learning offer in all types of museums, including history of art and archaeology museums, an ongoing debate has been established: Do these-usually screen-based-museum... more
With the advent of digital museum interactives as a widely available learning offer in all types of museums, including history of art and archaeology museums, an ongoing debate has been established: Do these-usually screen-based-museum interactives assist visitors in focusing on museum objects and artefacts? Or do they distract and take away the attention from the real museum objects on display? We present the Loupe, a tangible Augmented Reality prototype in form of a magnifying lens, which allows museum visitors to get information in context about museum artefacts. We detail the design and content creation process that was employed in order to create a thematic tour for the Greek Gallery of Allard Pierson Museum in Amsterdam. An evaluation study with 22 adult participants was carried out, using both qualitative and quantitative evaluation methods, so as to explore the utility and usability of the Loupe as well its learning and affective impact. Our findings suggest that the acceptance of the Loupe as a museum interactive and learning resource, was related both with its qualities as a tangible as well as with the structure of the content and the narratives revealed.