Virtual Exhibitions

This document describes the work currently in progress within the Virtual Museum Transnational Project (V-MUST.NET), within the Work Package 2 “house of Questions” dedicated to establish requirements and criteria analysis in the Virtual Museum domain. This deliverable contains the research and the state of the art about VM taking into account the results from Deliverables 2.1 and 2.2 and increasing them with new researches about the presence of VM in Europe and outside Europe, describing and analyzing their main characteristic.Deliverable 2.3 b is the updated version (2012-2013)

A change in any medium brings about a change in our life. This change does not only affect the way we use the said medium but also affects the way we feel, understand, and perceive the world through that medium. As we are adopting and adapting new, mostly democratising, digital technologies, new aesthetics seep into every aspect of our life. It is thus necessary to understand the dimension of aesthetic education with respect to new media technologies and its effects on the society. And, to be able to understand these new cognitions and definitions a tangible source is required: exhibitions. An exhibition is a product of curatorial knowledge, research, and technical labour which communicates and educates ideas, concepts and worldly themes to its intended audience. This thesis reflects upon the importance of exhibitions as a necessary communication and an educative tool especially in a highly mediatised world for media aesthetic education. It reviews exhibitions, their design and content and their evolution and relevancy to the community as well as takes note of ground-breaking exhibitions over the years and their subsequent effects on exhibitions and arts. With the support of an apartment and online exhibition, ALT//OurImaginedRealities and its analysis as a case study, this thesis further examines the capacity of exhibitions as a medium of learning as well as the scope of utility of apartment or similar exhibitions in transforming shared spaces into spaces of interaction, communication, and making them the foundations of an art conscious community in the near future.

Keywords: new media, media arts, aesthetic education, media aesthetic education, experience, exhibitions, alternative exhibitions, apartment exhibitions, online exhibitions

This document describes the work currently in progress within the Virtual Museum Transnational Project (V-MUST.NET), and specifically within the Work Package 2, dedicated to the creation of a common language in the Virtual Museum domain. This deliverable describes the adopted methodology used to build an on line common database that collects terms and definitions. It also defines the main 8 categories chosen to initially classify the domain and used as “glossaries” to collect related-terms.

lem-umr8584.cnrs.fr/?Roberto-D-Angio

Le LEM et l’Université Orientale de Naples organisent, à partir de fin septembre, une exposition virtuelle sur Robert d’Anjou et son époque.
L’exposition virtuelle "Les savoirs à Naples à l’époque de Robert d’Anjou" (octobre 2021) se propose de reconstituer la bibliothèque du roi angevin, en présentant des manuscrits écrits à sa demande ainsi que des manuscrits postérieurs ou pouvant être rattachés à son entourage.

Περίληψη Στην παρούσα εργασία παρουσιάζεται μία διδακτική προσέγγιση της διδασκαλίας της Ιστορίας της Τέχνης. Η ιδέα του σχεδιασμού και της υλοποίησης αυτής της εκπαιδευτικής άσκησης αξιοποιεί βασικές επιστημολογικές και παιδαγωγικές παραδοχές της σύγχρονης εκπαίδευσης και της Διδακτικής της Τέχνης μέσω των νέων τεχνολογιών, ως εργαλείο στήριξης της εκπαιδευτικής διαδικασίας. Ειδικότερα, αναφερόμαστε στην Εικονική Πραγματικότητα (ΕΠ), η οποία αποτελεί ένα έγκυρο γνωστικό και θεμελιώδες τεχνολογικό εργαλείο, μέσω του οποίου οι χρήστες αλληλοεπιδρούν. Οι φοιτητές δημιούργησαν τη δική τους εικονική έκθεση μέσω της υπηρεσίας artsteps.com, μια ολοκληρωμένη πλατφόρμα ψηφιακής μουσειογραφίας, που επιτρέπει στον χρήστη να δημιουργήσει, να επεξεργαστεί, να διαχειριστεί και να παρουσιάσει ψηφιακά έργα τέχνης με ενδιαφέροντα και παιγνιώδη τρόπο. Η δραστηριότητα αυτή συμβάλλει αποτελεσματικά στην προσέγγιση της πολιτιστικής κληρονομιάς, στη συνειδητοποίηση του κοινωνικού ρόλου της τέχνης και στον εμπλουτισμό του εικαστικού λεξιλογίου και της δημιουργικότητας των εκπαιδευόμενων. Τέλος, ο υπολογιστής χρησιμοποιείται ως εργαλείο ανακάλυψης, δημιουργίας και ανάπτυξης της σκέψης. Λέξεις κλειδιά: Διδακτική της Ιστορίας της Τέχνης, εικονική πραγματικότητα, εικονική έκθεση, πολιτισμός και νέες τεχνολογίες Εισαγωγή Η σύγχρονη Παιδαγωγική προσανατολίζεται, χωρίς πλέον καμία αμφιβολία, σε ένα σύστημα διδασκαλίας που έχει στο κέντρο του ενδιαφέροντος τις ατομικές ανάγκες του εκπαιδευόμενου στη διαδικασία της μαθησιακής του ανάπτυξης, αλλά και τις απαιτήσεις της σύγχρονης εποχής. Η εισαγωγή και ενσωμάτωση των Τεχνολογιών Πληροφορίας και Επικοινωνιών (ΤΠΕ) στην εκπαίδευση έδωσαν νέες δυνατότητες εμπλουτίζοντας και βελτιώνοντας τη μαθησιακή διαδικασία, θεωρούνται δε αναπόσπαστο και απαραίτητο τμήμα της εκπαιδευτικής δραστηριότητας, σε τέτοιο μάλιστα βαθμό που η έλλειψή τους αρκετές φορές καθιστά αδύνατη τη διδασκαλία. Η εισαγωγή των νέων τεχνολογιών σε όλες τις βαθμίδες της εκπαίδευσης και στη διδασκαλία όλων των γνωστικών αντικειμένων παρέχει τη δυνατότητα χρησιμοποίησής τους στη διδακτική των εικαστικών τεχνών. Τα παραδοσιακά μέσα των εικαστικών τεχνών και γενικότερα της καλλιτεχνικής παραγωγής, όπως και τα νέα μέσα της τεχνολογίας μπορούν να συνδυαστούν δημιουργικά στην εκπαίδευση, ενσωματώνοντας και αξιοποιώντας τις πρωτοπορίες και τις αλλαγές στον χώρο του πολιτισμού. Ο συνδυασμός τέχνης και ΤΠΕ ενισχύει αποτελεσματικά τη δημιουργική μάθηση με τρόπο βιωματικό και ολιστικό, ενώ ενδυναμώνει την κριτική στάση των εκπαιδευόμενων απελευθερώνοντας τις παραγωγικές και συνεργατικές δυνάμεις μεταξύ αυτών και των εκπαιδευτών (Κασιμάτη & Πετακάκη, 2018). Η εικονική πραγματικότητα (ΕΠ) είναι μία από τις εφαρμογές που γνωρίζει μεγάλη ανάπτυξη στην εκπαίδευση. Στην παρούσα εργασία ασχολούμαστε με την εικονική πραγματικότητα και συγκεκριμένα με τη χρήση της στις πολιτισμικές σπουδές στο πλαίσιο

The paper presents the rapid evolution of mobile devices and technologies in the last period, which facilitate the development of new kinds of mobile applications, such as mobile virtual exhibitions. New paradigms about mobile virtual exhibitions are highlighted, such as the business models and payment possibilities for accessing the cultural content. The Juliett mobile application is described, which implements a virtual exhibition with educational character. A survey on the use of Juliett mobile application was realized and its results were presented and analyzed.

Nacionalna i sveučilišna knjižnica u Zagrebu 1 od 2004. godine provodi programe digitalizacije građe iz bogatih fondova svojih zbirki. S vremenom se broj jedinica digitalizirane građe znatno povećao. Knjižnica se uključila i u rad europskih digitalnih projekata, prije svega u Europsku digitalnu knjižnicu (Europeana) i Europski portal digitalnih disertacija (DART-Europe). U protekle je tri godine NSK bila pridružena članica u projektu europskog projekta digitalizacije starih novina Europeana Newspapers, kako bi i na taj način povećala dostupnost svog digitaliziranog sadržaja te promovirala hrvatsku kulturnu i znanstvenu baštinu. S ciljem kreativne nadogradnje digitaliziranog sadržaja i njezina predstavljanja što široj publici, NSK je izradila dvije virtualne izložbe, obje prigodno posvećene autoru. Prva je nastala 2013. godine povodom 300. obljetnice rođenja Ruđera Boškovića, a druga 2014. godine povodom 100. obljetnice smrti Antuna Gustava Matoša. Prilikom izrade tih izložbi koristio se program WordPress koji su stručnjaci programa digitalizacije i informatičke službe NSK odabrali kao najbolje rješenje. 1 U daljnjem tekstu NSK.

Virtual museum exhibitions, based on digital representations of cultural objects arranged in diverse descriptive, narrative or interpretive structures, are an emerging example of a new form of communication between cultural heritage institutions and their publics. These virtual exhibitions become particularly interesting in an era marked by the "dematerialisation of culture", i.e. by a marked shift from viewing heritage as a thing to viewing it as a cultural mode of production, constituted by the interaction between collecting institutions (and their increasingly undermined authoritative voice), objects and publics. In this paper, we examine the way and the extent to which the category of visitors is constituted (and represented) in the user interface rhetorics, the information content and the interactive functions provided by selected examples of recent virtual museum exhibitions; we present a broader view of heritage based on the notion of community memory; identify formal and technological possibilities in further activating multivocality and dialogue, in line with recent museological thinking; and, suggest an analytical framework for further investigation. We conclude that the current generation of virtual exhibitions constitutes a small step towards the emergence of a more dialogic, interactive, living relationship with the past.

Ao longo de uma trajetória de quase duas décadas entre a prática como gestor, curador e pesquisador de arte digital e tecnológica, me deparo constantemente com as instabilidades do campo. Seja do ponto
de vista tecnológico, das condições envolvidas de pessoas e instituições, ou do sentido conceitual e abrangente do tema da arte por meio da vida digital.

Ser, viver e experienciar a arte no digital não é tarefa fácil, ainda que pareça, a partir da geração dos nativos digitais. Artistas, instituições, curadores e demais profissionais como museólogos, arquivistas, biblioteconomistas e gestores lidam com descontinuidades diversas que ultrapassam o limite entre intenção e realidade concreta de conservar, preservar a memória coletiva e cultural de uma sociedade cada vez mais pós-digital.

Od kilkunastu lat popularność zyskują targi wirtualne. Wobec szybkiego rozwoju internetu pojawiły się opinie wskazujące na to, że takie rozwiązania mogą zastąpić spotkania wystawców i zwiedzających, do których dochodzi w halach wystawowych. W związku z tym celem artykułu jest udzielenie odpowiedzi na pytanie: czy targi wirtualne stanowią realne zagrożenie dla tradycyjnych wydarzeń
wystawienniczych? Aby tego dokonać, zidentyfikowano cechy odróżniające obie platformy komunikacji i na ich podstawie wskazano korzyści, które otrzymują uczestnicy zarówno targów wirtualnych, jaki i tradycyjnych. Kontekst rozważań stanowił rynek B2B.

Virtual trade fairs have been gaining in popularity for more than a decade. In view of the rapid development of the Internet, some experts are of the opinion that such solutions can replace meetings between exhibitors and visitors which take place in exhibition halls. Therefore, the purpose of this paper is to reflect on whether virtual trade fairs constitute a real threat to traditional exhibition events. To that end, the distinguishing features of both communication platforms were identified and used as a basis for indicating benefits received by both participants of virtual trade fairs and traditional trade fairs. The B2B market provided the context for the discussion.

Deadline (revised) for full articles: 5 October, 2019

Article author guidelines: http://www.emeraldgrouppublishing.com/products/journals/author_guidelines.htm?id=ijtc



The aims of this Themed Issue of IJTC are to:

1. Define business events and identity the characteristics that distinguish them from cultural, sports and community events, as well as from leisure tourism.

2. Document the positive and negative impacts of business events on cities, including their impacts upon local communities.

3. Review approaches to measuring residents’ attitudes and opinions on business events in their communities.

4. Explore the methods used by cities to attract business events.

5. Investigate the impact on business events of forces operating in the wider market environment, including geopolitical changes, advances in information technology and demographic developments.

6. Consider how business events can generate additional leisure tourism in the cities where they are held.

We invite papers linked to the theme of Business Events in Tourism Cities in the following topics (indicative but not exhaustive themes):

• Definition and categorisation of business events

• Impacts of business events on urban environments and host populations

• Measurement of urban resident attitudes toward business events

• ‘Bleisure’

• City branding

• Destination marketing for business events

• The role of destination image in the process of marketing cities for business events

• The impacts of technology, geopolitical changes and demographics on the business events market

• The sharing economy and business events

• Safety and security at business events

• The supply and design of venues for business events

• Participants’ perception of their own experience of attending business events

• Education and training for business events professionals

• Ethical issues in business events.



Interested authors should email their abstract (200-300 words) or proposal to Dr. J. Andres Coca-Stefaniak (a.coca-stefaniak@gre.ac.uk) by 12th May, 2019.

Authors will be notified no later than 25th May 2019 on the decision over their abstracts.

Full articles (6,000-8,000 words) should be submitted by October 15th, 2019 using the journal’s online submission system at: https://mc.manuscriptcentral.com/ijtc

Further author guidelines for submission of manuscripts is provided on the journal webpage:
http://www.emeraldgrouppublishing.com/products/journals/author_guidelines.htm?id=ijtc

All manuscripts will undergo anonymous peer review.

This paper presents the development of an Augmented Reality (AR) and Virtual Reality (AR) pillar, a novel approach for showing AR and VR content in a public setting. A pillar in a public exhibition venue was converted to a four-sided AR and VR showcase, and a cultural heritage exhibit of “Boatbuilders of Pangkor” was shown. Multimedia tablets and mobile AR head-mountdisplays (HMDs) were provided for visitors to experience multisensory AR and VR content demonstrated on the pillar. The content included AR-based videos, maps, images and text, and VR experiences that allowed visitors to view reconstructed 3D subjects and remote locations in a 360 virtual environment. In this paper, we describe the prototype system, a user evaluation study and directions for future work. CCS Concepts •Multimedia Information System → Artificial, augmented, and virtual realities;

U radu se razmatraju oblici posredovanja i kreativnog korištenja digitalnog kulturnog sadržaja u baštinskim ustanovama. Ukazuje se na trend predstavljanja digitalne građe u kontekstu koji je nužan za kvalitetnije približavanje baštine korisnicima. Navode se definicije, vrste i namjene virtualne izložbe te donose primjeri uspostave suradničkih sustava za izradu virtualnih izložbi s ciljem osiguravanja alata za veći broj korisnika te postizanja ekonomičnosti izrade izložbi. Prikazuje se razvoj virtualnih izložbi Nacionalne i sveučilišne knjižnice u Zagrebu (NSK) te donosi prikaz aktivnosti projekta Kreativna nadgradnja digitalnog sadržaja (2018.) na izgradnji mreže virtualnih izložbi.
Rad donosi rezultate projekta Kreativna nadgradnja digitalnog
sadržaja – razvoj suradničkog alata, edukacija i promotivne aktivnosti. Zaključno je naznačen mogući put razvoja mreže virtualnih izložbi. Rad dokumentira aktivnosti Nacionalne i sveučilišne knjižnice u Zagrebu u području izgradnje mreže virtualnih izložbi te donosi bitne elemente procesa izrade virtualne izložbe. Predstavljen je teorijski i praktični pristup Nacionalne i sveučilišne knjižnice u Zagrebu izgradnji mreže virtualnih izložbi knjižnica. Područje interpretacije baštine i digitalnog pripovijedanja postavljeno je kao okvir za razumijevanje virtualne izložbe kao sredstva posredovanja baštine. Također su predstavljene inovativne primjene alata otvorenog koda, sustavna edukacija knjižničara i suradnja.
The paper examines forms of mediation and creative use of digital
cultural content in heritage institutions. It points out the trend towards contextual presentation of digital material as a necessity for bringing heritage closer to users. The definitions, types and purposes of virtual exhibition are given, as well as examples of setting up collaborative systems for creating virtual exhibitions with the aim of providing tools for a large number of users and achieving cost-effectiveness. The development of a network of virtual exhibitions at the National and University Library in Zagreb (NSK). and the activities within the project Kreativna nadgradnja digitalnog sadržaja (Creative development of digital content, 2018), intended to develop a virtual exhibitions network, are presented. The paper presents the results of the project Kreativna nadgradnja digitalnog sadržaja (Creative development of digital content) – the development of a collaborative tool, education and promotional activities. In conclusion, a possible path for the expansion of a virtual exhibitions network is outlined. The paper documents the activities of the National and University Library in Zagreb in regard to the development of a network of virtual exhibitions and presents the essential steps in the process of creating a virtual exhibition. The theoretical and practical approach of the National and University Libraries in Zagreb to the process of developing a network of virtual exhibitions is presented. The field of heritage interpretation and digital storytelling is set up as a framework for understanding virtual exhibitions as a means of mediating heritage. The paper also presents innovative application of open source tools, systematic education of librarians and models of collaboration.

Виртуальная выставка с видео-экскурсией. Кураторы - А. А. Богданов, М. А. Смирнова, подготовка цифровых копий - Д. П. Белозеров, Е. А. Ляховицкий.
Virtual exhibition with a video tour. Curators - A. A. Bogdanov, M. A. Smirnova, preparing digital copies - D. P. Belozerov, E. A. Lyakhovitsky.

Выставка в Отделе рукописей Российской Национальной библиотеки является своеобразной документальной летописью Первой мировой войны. Экспонаты не только детально рассказывают об этапах войны и людях, участвовавших в ней, но и  передают атмосферу того времени.
Среди экспонатов - полевые книжки, письма, дневники, карты, статьи, автографы известных политиков и деятелей культуры.
Впервые представлены автографы и письма императора Николая II и его кузена и главного противника кайзера Вильгельма II, Григория Распутина и великого князя Константина Романова. Здесь и пророческие стихи Игоря Северянина, и полные тревоги и неопределенности дневники Зинаиды Гиппиус, сухие донесения, красочные зарисовки и карты с мест военных действий и документы, не прошедшие цензуру. Есть и бесхитростные солдатские письма с фронта, среди которых «последняя весточка» от одного из тысяч забытых героев той войны георгиевского кавалера Федора Чачуа, а рядом  письмо о его гибели.

Выставлена и уникальная, чудом сохранившаяся, коллекция рукописных листовок. Их писали русские солдаты в окопах, обращаясь к солдатам и офицерам германской армии. Призывы записывали на фанере, ткани, оберточной бумаге. В начале войны они были полны ненависти к врагу, а уже в 1917 г. искренним желанием прекратить кровавое никому не нужное противостояние.

На экспозиции представлены ценнейшие документы того времени - рукописные журналы русских военнопленных.

Виртуальная выставка документов из Отдела рукописей в определенной степени повторяет экспозицию, которая открывается в Отделе 18 сентября 2014 г. в рамках мероприятий, посвященных 100-летию Первой мировой войны. Представленные экспонаты дополнят полномасштабную выставку «Лики Великой войны: Первая мировая война в коллекциях и фондах РНБ».
The exhibition in the Department of Manuscripts of the National Library of Russia isa kind of documentary chronicle of the First World War. The exhibits not only tell in details about the stages of the war and the people who participated in it, but also convey the atmosphere of that time.
Among the exhibits there are field books, letters, diaries, maps, articles, autographs of famous politicians and cultural figures.
For the first time autographs and letters of Emperor Nicholas II and his cousin and the main opponent of Kaiser Wilhelm II, Grigory Rasputin and Grand Duke Constantine Romanov are presented. Here are the prophetic verses of Igor Severyanin, Zinaida Gippius's diaries full of anxiety and uncertainty, dry reports, colorful sketches and maps from the places of military operations and documents that have not been censored. There are also unsophisticated soldier's letters from the front, among them the "last news" from one of the thousands of forgotten heroes of that war of the knight of St. George order, Fedor Chachua, and a letter about his death.

A unique collection of hand-written leaflets is also exhibited. They were written by Russian soldiers in the trenches, referring to the soldiers and officers of the German army. Appeals were recorded on plywood, cloth, wrapping paper. At the beginning of the war, they were full of hatred of the enemy, and already in 1917, of a sincere desire to stop the bloody unpleasant opposition to anyone.

The exposition presents the most valuable documents of that time-manuscript journals of Russian prisoners of war.

A virtual exhibition of documents from the Department of Manuscripts, to a certain extent, repeats the exposition, which opens in the Department on September 18, 2014 as part of the events dedicated to the 100th anniversary of the First World War. The exhibits will complement the full-scale exhibition "Faces of the Great War: World War I in Collections and Funds of the National Library of Russia".

A New Temporary Exhibition of the U. Nahon Museum of Italian Jewish Art in Jerusalem at the Knesset:

From Italy to Jerusalem:
An exhibition of Hanukkah Lamps from the U. Nahon Museum of Italian Jewish Art

Curators: Andreina Contessa and Sharon Soffer

Location: The Knesset of Israel, Kedma Hall
Link to the virtual catalogue:
http://museumsinisrael.gov.il/he/Exhibitions/Pages/Exhibition.aspx?IdExhibit=IEMS-EIT-40011

DigitalHeritageExpo is the largest exhibition on Digital Heritage ever organised. Spread over more than 700 sqm of space, the exhibition is divided into 6 unique categories: Immersive Environments, DigitalHeritage @ Work, Virtual Museums, Edutainment, Art and Creativity, Multivision.
Organizes by CNRS - MAP and CNR - ITABC, supported by BMTA’s Archeovirtual and ETH’s Digital Art Weeks, the Expo is hosted in the astonishing location of the Villa Mediterranée in Marseille from the 28th of October until the 1st
of November 2013.
Selected by a program committee composed of Arts, Heritage and Information & Communication Technologies experts, the best exhibitions proposals not only be accessible for hundreds of participants of the congress, but will also for the thousands of visitors that the new waterfront museum area has been attracting to its exhibits.
Visitors to the exhibition will travel through time and space, reaching diverse countries from around the world from ...

Exhibitions and exhibition reviews are known practices in several disciplines. Some of these disciplines have an artistic nature that allows critiques and face-to-face interaction to triangulate the exhibited work from practice, reflection, and future possibilities. The Covid-19 pandemics restricted face-toface exhibitions, which allowed other forms of virtual nature to develop. Online exhibitions are events that can be viewed on digital devices like computers and mobile phones using the internet anywhere, any time and any place. Nowadays, it is considered one of the best ways to disseminate digital artifacts information in any area, including Art, Heritage, Design, special Museum or temporary Exhibition collections. This research explores the validity and potential of virtual exhibitions using social media platforms to exhibit designed products. The research reflects on the process and collects qualitative data from 2020 and 2021 virtual exhibitions of design projects and products exhibited on the 'Instagram' social platform. The experience of 38 exhibitors and 15 jurors was recorded and analyzed to understand the potential of this learning experience. The results indicated the success of the experiment and allured the possibility of adopting this learning method in more disciplines where cost and complexity are replaced with efficiency and extreme interactivity. This sustainable academic practice may then be adopted as a regular one considering its relatively free cost and extremely high educational benefits.

This paper investigates the educational role of cultural products that encompass the new technologies and especially the World Wide Web. A case study of a virtual educational exhibition, which constitutes an ongoing project, is presented. More specifically, the Directorate of Museums, Exhibitions and Educational Programs of the Hellenic Ministry of Culture and Athletics is running a European Program entitled " Writing traces: the history of writing and Greek language " and the thematic virtual exhibition will be one of its products, which seeks to create new multiple hermeneutic and educational approaches of the subject. It refers to many audience categories (students of all ages, educational professionals and wider public) and its goal is to create a digital learning community by presenting and interpreting cultural artifacts from the broader Hellenic district. In the process of the preparation of the virtual exhibition a front-end evaluation research was conducted by the working group, which consists of archaeologists and museologists, in order to investigate the audience's expectations of the project. The results of this original research are presented and their contribution to the exhibition's management in general are discussed and explained. Furthermore, the challenges of the educational exploitation of the exhibition are addressed. Περίληψη: Η έρευνα αυτή εξετάζει τον εκπαιδευτικό ρόλο πολιτιστικών προϊόντων που αξιοποιούν τις νέες τεχνολογίες και ιδιαίτερα το Διαδίκτυο. Παρουσιάζεται μία μελέτη περίπτωσης εικονικής έκθεσης, η οποία βρίσκεται σε στάδιο εξέλιξης. Πιο συγκεκριμένα, η

Das Ägyptische Museum der Universität Bonn zeigt erstmals eine virtuelle Sonderausstellung. Im Mittelpunkt der digitalen Schau "Vermenschlichte Zeichen als Schlächter: Singuläre Ikonographie als Spuren sozio-politischer Veränderungen im ägyptischen Niltal des Mittleren Reiches (2. Jahrtausend v. Chr.)" steht eine außergewöhnliche, ja einmalige Schlachtungsszene aus dem monumentalen Grab des Fürsten Wahka II. in Qau el-Kebir in Mittelägypten. 
Darstellungen von Rindern und ihrer Schlachtung waren den Gräbern der wohlhabenden Ägypter vorbehalten. Sie sollten die ewige Fleischversorgung des Toten im Jenseits sichern, da nach ägyptischer Auffassung Darstellungen und Grabbeigaben auf magische Weise real wurden. In der Ausstellung wird diese einmalige Schlachtungsszene, in der vermenschlichte Zeichen oder Symbole die Rolle von Schlächtern übernehmen, in Zeichnung und Rekonstruktion vorgestellt und in ihren verschiedenen Sinnebenen erläutert.
Die von der Bonner Universitätsstiftung geförderte Ausstellung wurde von Dr. Ghada Mohamed (Universität Kairo) konzipiert, die erst kürzlich an der Universität Bonn als DAAD-Stipendiatin erfolgreich ihre Promotion über die Bedeutung anthropomorphisierter Zeichen im alten Ägypten abgeschlossen hat. Unter anderem aus dem Objektbestand des Ägyptischen Museums werden konventionelle Schlachtungsdarstellungen dieser einzigartigen Szene gegenübergestellt.
Die Sonderausstellung wird auf Deutsch und Arabisch präsentiert, sowohl im Rahmen des virtuellen 360°-Rundgangs durch das Museum (https://vr-easy.com/tour/4750/) als auch auf zwei eigens eingerichteten Websites:
Deutsch: http://vermenschlichtezeichen.ausstellung.unaux.com/?i=1
Arabisch: http://vermenschlichtezeichen.ausstellung1.unaux.com/?i=1

Within hybrid exhibiting conditions, while the spectatorship experience is theatricalized, space becomes a potential place of action in which various moments of encounter occur. Besides, the exhibit, being by now increasingly assimilated to self-referential practices, leads viewers to choreograph their position in space, making the act of fruition an exercise of aesthetic creation. In this sense, the idea of experience is no longer limited to the simple artifact but is open to the unfolding of specific temporality.
The current museographical system, increasingly interested in exploring the potential of the virtual in an architectural dimension - in which different spatial levels "coexist peacefully" (Cauquelin, 2006), and viewers are free to explore "the immense richness of their virtual states" (Delseaux, Weber, 2006) -, allows us to mobilize a debate on the ontology of aesthetic experience in relation to the aesthetics of the virtual. In particular, the idea of virtual understood as "space without place" in an "abolished time" (Cauquelin, 2006), requires a general reconsideration of the parameters that preside over the main diegetic processes of fruition and creative actualization, as well as of the concepts of temporality and spatial embodiment, in order to understand the mechanisms that these dynamics can awaken.
This paper analyzes three specific study cases, the WeARinMoMA exhibition (2010) at the MoMA, the ARtours project (2010) at the Stedelijk Museum, and the artwork The Alter Bahnhof Video Walk by the artists Cardiff and Miller (Documenta 12, 2012, Kassel): i.e., an exhibition organized in augmented reality, an APP conceived by the Dutch museum's mediation department to respond to a specific museum need, and a video-performance that spatializes two narrative temporalities in a public space.
These three occasions not only describe the capability of the virtual to adapt itself to different artistic contexts and practices but also offer the opportunity to deepen the implications of the virtual in the current reconfiguration of the relationship between spectators and processes of creation, exhibiting, and aesthetic enjoyment. Considering the virtual no longer as a substitute for the real, but as a second space, superimposed on reality itself, the paper deepens the concept of aesthetics of the virtual through the filter of the spectator and its immersion within virtual spaces called of "third-generation" (Davallon, 2003).

https://museum-peenemuende.de/zeitreise/
In der Online-Ausstellung „Zeitreise“ präsentieren 14 Studierende aus dem Bachelor-Studiengang Geschichte und dem Master „Kultur der technisch-wissenschaftlichen Welt“ an der Technischen Universität Braunschweig die Ergebnisse eines Projektseminars. In 28 Themenbereichen können die Besucher Einblicke in alle historischen Phasen des Ortes Peenemünde gewinnen, von der ersten Erwähnung über den Dreißigjährigen Krieg, die Einrichtung der Versuchsanstalten Peenemünde im Nationalsozialismus und des NVA-Standortes in der DDR bis in die Zeit des tiefgreifenden Strukturwandels nach der Deutschen Einheit. Dazu haben sich die Studierenden in Archiven, Bibliotheken und auf einer Exkursion nach Peenemünde intensiv mit den Erinnerungsorten und Objekten auseinandergesetzt, recherchiert, fotografiert und Interviews mit Anwohnern und Zeitzeugen geführt.

The purpose of this article is to present the possibility of implementing a mobile application for virtual exhibitions. Nowadays, the history and art consumers have available web expositions, but compared to personal computers, the mobile smart devices provide a huge portability and very fast internet access. Sending the history/culture/art in this way is a step forward and could mean a scope extension. Also implementing such mobile applications in the field of history/culture/art could mean a helpful tool in education. The paper describes the mobile augmented reality systems and two different existing applications used in museums, in order to reveal the advantages of implementing mobile applications in the cultural field.

In the year 2013 the first virtual exhibition Pablo Picasso, 80th birthday celebration, Vallauris 1961 was introduced to Digital collection of Croatian Academy of Sciences and Arts (DIZBI) to widen the public interest in archival material and encourage more users to explore the collections. The exhibition uses the possibilities of different digitized formats, such as text, picture, audio and video, for presenting the material more vividly and attractively. The content of the virtual exhibition is automatically connected to the content and metadata of DIZBI, thus giving the full description and allowing more detailed view of the exhibits. By extracting the most interesting parts of the already presented material of the Fine Arts Archives collection the authors of virtual exhibition had new opportunities and freedom to communicate a specific theme in a more interesting way.

This paper presents the development of an Augmented Reality (AR) and Virtual Reality (VR) pillar, a novel approach for showing AR and VR content in a public setting. A pillar in a public exhibition venue was converted to a four-sided AR and VR showcase, and a cultural heritage exhibit of " Boatbuilders of Pangkor " was shown. Multimedia tablets and mobile AR head-mount-displays (HMDs) were provided for visitors to experience multisensory AR and VR content demonstrated on the pillar. The content included AR-based videos, maps, images and text, and VR experiences that allowed visitors to view reconstructed 3D subjects and remote locations in a 360 virtual environment. In this paper, we describe the prototype system, a user evaluation study and directions for future work.

It is becoming popular to render art exhibitions in Virtual Reality (VR). Many of these are used to deliver at-home experiences on peoples' own mobile devices, however, control options on mobile VR systems are necessarily less flexible than those of situated VR fixtures. In this paper, we present a study that explores aspects of control in such VR exhibitions-specifically comparing 'on rails' movement with 'free' movement. We also expand the concept of museum audio guides to better suit the VR medium, exploring the possibility of embodied character-guides. We compare these controllable guides with a more traditional audio-guide. The study uses interviews to explore users' experience qualitatively, as well as questionnaires addressing both user experience and simulator sickness. The results suggest that users generally prefer to have control over both their movement and the guide, however, if relinquishing movement control, they prefer the uncontrolled guide. The paper presents three key findings: 1) users prefer to be able to directly control their movement; 2) this does not make a notable difference to simulator sickness; 3) embodied guides are potentially a good way to deliver additional information in VR exhibition settings.

Ein Residency als ein zusätzliches Lehrformat besteht seit 2018 als Kooperationsvereinbarung zwischen der Universität für künstlerische und industrielle Gestaltung Linz und dem Atelierhaus Salzamt Linz, um über namhafte Museen des Landes und Bundes hinaus Möglichkeiten des Ausstellens für den künstlerischen Nachwuchs in Oberösterreich zu schaffen. Das Atelierhaus Salzamt Linz konnte sich wiederum an der Seite eines zentralen Bildungspartners wie der Kunstuniversität Linz, wie sie kurz genannt wird, gegenüber Restriktionen im Kulturetat durch die in der Landesregierung vertretene FPÖ behaupten. Außeruniversitäre Impulse können so in das Curriculum episodisch eingebunden werden, und die künstlerisch-wissenschaftlichen Erkenntnisse werden in eine Ausstellung transferiert, um einen öffentlichkeitsbildenden Austausch in der Stadt zu schaffen.

This paper presents the development of an Augmented Reality (AR) and Virtual Reality (AR) pillar, a novel approach for showing AR and VR content in a public setting. A pillar in a public exhibition venue was converted to a four-sided AR and VR showcase, and a cultural heritage exhibit of "Boatbuilders of Pangkor" was shown. Multimedia tablets and mobile AR head-mountdisplays (HMDs) were provided for visitors to experience multisensory AR and VR content demonstrated on the pillar. The content included AR-based videos, maps, images and text, and VR experiences that allowed visitors to view reconstructed 3D subjects and remote locations in a 360 virtual environment. In this paper, we describe the prototype system, a user evaluation study and directions for future work.

Our aim is to describe and define virtual experiments, as a mode of complementation for real experiments in science learning, as well as to explore its potential for complementing informal learning activities carried out by science museums and interactive science centers in the digital domain. Specifically, virtual experiments can lead to inquiry learning and open ended investigation in opposition to the closed and out of context “hands on” experiences s pplied by science centers. The application of the learning object concept to this kind of resources, with the adoption of standard description and educational
etadata, can provide for better resource discovery and utilization in behalf of the formal sector of education, and for the establishment of an rational economic basis for resource sharing between virtual science museums and science centers gathered around thematic or geographical networks.

Link para acesso: https://www.google.com/culturalinstitute/beta/exhibit/7QKi4Qlq79p_LA?hl=pt-PT

English version: https://www.google.com/culturalinstitute/beta/exhibit/7QKi4Qlq79p_LA?hl=en-EN

Participação no projeto desenvolvido no âmbito do Mestrado em História da Arte Portuguesa da Faculdade de Letras da U.Porto (FLUP).

Se presenta una revisión de las distintas metodologías aplicadas a lo largo del tiempo en el estudio de la encuadernación artística. Para ello, se recurre a la visión del arte ligatorio en tratados generales primero, y en manuales específicos después. Se atiende, asimismo, al cambio de paradigma motivado por el movimiento bibliófilo del siglo XIX, y a su repercusión en los posteriores estudios de los siglos XX y XXI. En último término, se analiza la importancia de las nuevas tecnologías en la investigación y difusión de la encuadernación artística, en medida que establecen vínculos con la web semántica y la musealización virtual del libro.