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Journal articles on the topic 'Virtual reality museum exhibition'
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Petridis, Panagiotis, Ian Dunwell, Fotis Liarokapis, et al. "The Herbert Virtual Museum." Journal of Electrical and Computer Engineering 2013 (2013): 1–8. http://dx.doi.org/10.1155/2013/487970.
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In recent years, virtual reality and augmented reality have emerged as areas of extreme interest as unique methods for visualising and interacting with digital museum artefacts in a different context, for example, as a virtual museum or exhibition, particularly over the Internet. Modern cultural heritage exhibitions have evolved from static to dynamic exhibitions and challenging explorations. This paper presents two different applications developed for the Herbert Museum and Art Gallery that make the user’s experience more immersive, engaging, and interactive. The first application utilizes mobile phone devices in order to enrich the visitors experience in the museum, and the second application is a serious game for cultural heritage and in particular for museum environments focusing on the younger visitors.
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Sagasti Mota, Diego, Sara Sillaurren, and José Daniel Gómez de Segura. "Gestión integral de un Proyecto de Reconstrucción Virtual para una exposición en un Museo." Virtual Archaeology Review 1, no. 2 (2010): 171. http://dx.doi.org/10.4995/var.2010.4724.
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<p>In the work of historical reconstruction, the accuracy, fidelity and historic accuracy of what is shown are essential elements. Increasingly, virtual reconstruction is taking a relevance position in exhibitions and archaeology museums. The experts in virtual reconstruction are gaining in importance in the exhibitions designing. But they still need a permanent feedback on the part of the archaeologists to be sure that reconstruction is adjusted to the reality and is worthy of being presented in a museum. We present our project for creation of a virtual exhibition for the archaeological museum of Vitoria (Spain).We use different types of audiovisual material to rebuild and tell the story of the humans who inhabited the north of the Iberian peninsula since the 300,000 b.C until today.</p>
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Kersten, T. P., F. Tschirschwitz, and S. Deggim. "DEVELOPMENT OF A VIRTUAL MUSEUM INCLUDING A 4D PRESENTATION OF BUILDING HISTORY IN VIRTUAL REALITY." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W3 (February 23, 2017): 361–67. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w3-361-2017.
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In the last two decades the definition of the term “virtual museum” changed due to rapid technological developments. Using today’s available 3D technologies a virtual museum is no longer just a presentation of collections on the Internet or a virtual tour of an exhibition using panoramic photography. On one hand, a virtual museum should enhance a museum visitor's experience by providing access to additional materials for review and knowledge deepening either before or after the real visit. On the other hand, a virtual museum should also be used as teaching material in the context of museum education. The laboratory for Photogrammetry &amp; Laser Scanning of the HafenCity University Hamburg has developed a virtual museum (VM) of the museum “Alt-Segeberger Bürgerhaus”, a historic town house. The VM offers two options for visitors wishing to explore the museum without travelling to the city of Bad Segeberg, Schleswig-Holstein, Germany. Option a, an interactive computer-based, tour for visitors to explore the exhibition and to collect information of interest or option b, to immerse into virtual reality in 3D with the HTC Vive Virtual Reality System.
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Vasileva, Sofia, and Tina Petrova. "Virtual Reality Development and the Socialization of Bulgarian Cultural Heritage." Journal of International Cooperation and Development 2, no. 1 (2019): 34. http://dx.doi.org/10.36941/jicd-2019-0005.
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The aim of the paper is to show to what extent so far the virtual reality has entered the exhibition concepts of museums in Bulgaria. Two aspects have been emphasized: the integration of information technologies in education in the sphere of cultural heritage and the digital presentation of museum displays. This article presents part of the activities and results on research Project Models of Socialization of Cultural Heritage in a ‘smart city’ ДН05/3, 14.12.2016, supported by the National Science Fund at the Bulgarian Ministry of Education and Science. Descriptive qualitative method was employed in this study. The data were obtained through direct observations of museum institutions in Bulgaria in terms of the degree of online access to museum expositions, the degree of digitization of museum collections and the degree of digital representation of museum expositions. Some of the basic problems of museums in Bulgaria have been systematized. Results are used to improve the quality of education in the field of cultural heritage, to promote the exchange of scientific and practical experience among university tutors, museum specialists and experts. It is expected that the results find application in the programs for informing and training for raising the capacity of local communities in the sphere of cultural tourism.
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Vasileva, Sofia, and Tina Petrova. "Virtual Reality Development and the Socialization of Bulgarian Cultural Heritage." Journal of International Cooperation and Development 2, no. 2 (2019): 1. http://dx.doi.org/10.36941/jicd-2019-0008.
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The aim of the paper is to show to what extent so far the virtual reality has entered the exhibition concepts of museums in Bulgaria. Two aspects have been emphasized: the integration of information technologies in education in the sphere of cultural heritage and the digital presentation of museum displays. This article presents part of the activities and results on research Project Models of Socialization of Cultural Heritage in a ‘smart city’ ДН05/3, 14.12.2016, supported by the National Science Fund at the Bulgarian Ministry of Education and Science. Descriptive qualitative method was employed in this study. The data were obtained through direct observations of museum institutions in Bulgaria in terms of the degree of online access to museum expositions, the degree of digitization of museum collections and the degree of digital representation of museum expositions. Some of the basic problems of museums in Bulgaria have been systematized. Results are used to improve the quality of education in the field of cultural heritage, to promote the exchange of scientific and practical experience among university tutors, museum specialists and experts. It is expected that the results find application in the programs for informing and training for raising the capacity of local communities in the sphere of cultural tourism.
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Yulie, Wang, Sun Yujie, and Zhou Chongwu. "Research on the development and application of museum cultural Resources display based on virtual reality technology." E3S Web of Conferences 236 (2021): 01048. http://dx.doi.org/10.1051/e3sconf/202123601048.
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The development of museum cultural industry, as the key content of the development of national cultural industry, affects the inheritance of national culture and history. Due to the constant update of hightech, new media and other technologies, the display of cultural resources in museums is becoming more and more diversified. The application of virtual reality technology, digital interaction technology, new media and other technologies brings new vitality to the display design of modern museums. Under the background of this era, the exhibition of museum cultural resources is researched and explored. At present, virtual reality technology is gradually applied in the display and dissemination of cultural resources. This paper discusses how to realize the application of this technology in the display of cultural resources in museums.
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Poce, Antonella, Alessio Caccamo, Francesca Amenduni, Maria Rosaria Re, Carlo De Medio, and Mara Valente. "A Virtual Reality Etruscan Museum Exhibition – Preliminary Results Of The Participants’ Experience." EDEN Conference Proceedings, no. 1 (October 21, 2020): 40–49. http://dx.doi.org/10.38069/edenconf-2020-rw-0005.
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The current global health emergency has posed the need to reflect upon how to guarantee high standard of quality in 100% virtual exhibition. In this case study, we present one of the possible solutions to design a VR museum exhibition for educational purposes. The Centre for Museum Studies designed “The E-Trouria App”, a VR exhibition which is aimed at providing participants with personalised learning path based on an Etruscan museum collection in Rome. The App was designed by combining different pedagogical methods such as Digital Storytelling and Reflective Questioning. The goals of the research were to understand visitors' evaluation of their experience. 20 postgraduate students (F = 17; M = 3; Average age = 36 years) in Museum Education took part in the pre-pilot experimentation. Participants expressed very positive evaluation on the visit and their features (narratives, soundtrack and multimodality). Participants were emotionally engaged during the visit and the most reported emotions were “pleasure” and “wondering”. Future research steps are illustrated.
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Izzo, Filomena. "Museum Customer Experience and Virtual Reality: H.BOSCH Exhibition Case Study." Modern Economy 08, no. 04 (2017): 531–36. http://dx.doi.org/10.4236/me.2017.84040.
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Jiang, Kai, and Shan Hong Zhu. "Online Virtual Exhibition Hall Design Based on Augmented Reality." Applied Mechanics and Materials 513-517 (February 2014): 1135–38. http://dx.doi.org/10.4028/www.scientific.net/amm.513-517.1135.
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Augmented reality (AR) technology is one of the hot issues in the field of computer vision, There are many technologies for the development of online virtual display, Such as Flash, Java and Web3D technology. Web3D technology is an emerging network3D technology, in which VRML and Cult3D technologies are commonly used. This paper chooses a convenient interactive technologyCult3D, Cult3D Designer platform is given in a 3D virtual scene and product display of the implementation process, through a set of instructions to achieve user interactions with the product and the virtual museum roaming.
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Gobira, Pablo, and Emanuelle de Oliveira Silva. "About reality: Relations between museums and virtual reality1." Virtual Creativity 9, no. 1 (2019): 63–72. http://dx.doi.org/10.1386/vcr_00005_1.
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Abstract In this article we discuss how museums, as knowledge institutions, enable the public to use virtual reality (VR) as an instrument for exhibitions. Most current research is about integrating VR into the traditional frame of a museum to enable a deeper and more meaningful understanding of the displayed artworks. This happens because of a narrow view of the concept of 'reality'. To start this discussion we are going to broaden the concept of 'reality', and go beyond the most commonly used terms of real and virtual. We will study some case applications of VR in museums and the way it is understood, to then bring about the range of possibilities it has beyond the common use. We will work with the most widely accepted theories on museums and based on Roy Ascott's works we will present a deeper discussion on the topic of realities.
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Chiarenza, S., A. R. D. Accardi, and R. Inglisa. "TECHNOLOGICAL INNOVATION AND NEW PRESENTATION STRATEGIES FOR VIRTUAL MUSEUM EXHIBITIONS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 21, 2019): 311–18. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-311-2019.
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<p><strong>Abstract.</strong> In recent years, the theme of museums and virtual exhibitions has been the subject of a wide debate and a significant number of researches and experiments. In a vast and articulated framework of experiences, this article intends to highlight new strategies related to the creation of digital museum paths based on a multidisciplinary approach. The research presented here intends to create a protocol for the construction of digital museums based on the definition of an ontology capable of integrating digital elaborations of 3D virtual models and exhibition projects with semantic relationships. The experimentation conducted has considered, in particular, some issues concerning drawn architectures. Thanks to a rigorous methodological approach and the use of new technologies for virtual and augmented reality, it has been possible to build a tool that allows improving the knowledge of the cultural heritage investigated through the customizable structuring of virtual exhibitions. It is a tool that, thanks to its flexibility and precision, can satisfy the widest user target, ranging from experts (professionals, designers, historians, researchers, etc.) to simple visitors (tourists, enthusiasts, etc.).</p>
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Choi, Kwangsik, and Yoonjae Nam. "A Study on the Authenticity and Educational Role of Museum Exhibition Using Virtual Reality." Journal of Speech, Media & Communication Research 20, no. 2 (2021): 77–118. http://dx.doi.org/10.51652/ksmca.2021.20.2.3.
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Żyła, Kamil, Jerzy Montusiewicz, Stanislaw Skulimowski, and Rahim Kayumov. "VR technologies as an extension to the museum exhibition: A case study of the Silk Road museums in Samarkand." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 73–93. http://dx.doi.org/10.46284/mkd.2020.8.4.6.
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The geographical dispersion of the Silk Road generates a number of problems with the availability of its heritage for visitors. ICT can at least partially address these problems. This article discusses the concept of extending the Silk Road museums’ offer with virtual reality (VR) technologies, which has been tested based on a virtual exhibition, developed through a long-term cooperation between Lublin University of Technology and museums in Samarkand in the field of 3D digitization and dissemination of their exhibitions. A survey of a group of spectators was conducted and its results are discussed. It revealed that VR is a promising technology, widely accepted among spectators and well suited for the specificity of the Silk Road museums, and it could be used primarily to complement traditional exhibitions.
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Margetis, George, Konstantinos C. Apostolakis, Stavroula Ntoa, George Papagiannakis, and Constantine Stephanidis. "X-Reality Museums: Unifying the Virtual and Real World Towards Realistic Virtual Museums." Applied Sciences 11, no. 1 (2020): 338. http://dx.doi.org/10.3390/app11010338.
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Culture is a field that is currently entering a revolutionary phase, no longer being a privilege for the few, but expanding to new audiences who are urged to not only passively consume cultural heritage content, but actually participate and assimilate it on their own. In this context, museums have already embraced new technologies as part of their exhibitions, many of them featuring augmented or virtual reality artifacts. The presented work proposes the synthesis of augmented, virtual and mixed reality technologies to provide unified X-Reality experiences in realistic virtual museums, engaging visitors in an interactive and seamless fusion of physical and virtual worlds that will feature virtual agents exhibiting naturalistic behavior. Visitors will be able to interact with the virtual agents, as they would with real world counterparts. The envisioned approach is expected to not only provide refined experiences for museum visitors, but also achieve high quality entertainment combined with more effective knowledge acquisition.
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Liu, Hong Xia, and Zhi Hua Teng. "The Exhibition Design and Implementation Based on Virtual Reality Technology." Advanced Materials Research 998-999 (July 2014): 1270–73. http://dx.doi.org/10.4028/www.scientific.net/amr.998-999.1270.
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The information of various exhibitions is the base of a virtual reality system throughout the exhibition industry. In this paper, based on the basic needs of digitized acquisition of various types of exhibits in exhibition industry and using high-precision, non-destructive and non-contact three-dimensional scanning technology, a digitized acquisition and processing solution against the exhibits was proposed, which makes the sample of the exhibits meet certain precision. On this basis, the design and implementation of the organization and integration technology of various types of exhibition information was expounded. The system was applied to a number of digital museums and achieved expectable effect.
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Han, Liu, and Yang Cui. "The application of virtual reality technology in museum exhibition ——Take the Han Dynasty Haihunhou Ruins Museum in Nanchang as an example." E3S Web of Conferences 236 (2021): 04045. http://dx.doi.org/10.1051/e3sconf/202123604045.
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The opening of the Haihunhou Relics Museum of The Han Dynasty in Nanchang showcases the largest, best-preserved and most abundant legal-marquis tombs of the Han Dynasty discovered in China, and exhibits the historical sites and precious cultural relics of the Han Dynasty in an undamaged manner. The tomb of Haihunhou reflects the splendid civilization of an era, which is of great significance to the study of Chinese politics, economy and culture in han Dynasty. The display of the Han Dynasty Haihunhou Ruins Museum in Nanchang also represents the display level of today's China. Nowadays, people are more and more interested in and want to visit ancient relics. However, it is difficult for traditional museums to display ancient relics and visitors cannot understand the historical stories behind them. With the development of contemporary science and technology and virtual reality technology, museum exhibits more tends to digital, intelligent technology, through the cultural relics of the display of virtual reality technology, brings to the sea faint principality of nanchang han dynasty ruins museum different presentation, more fully play of the museum's education value and historical responsibility.
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Parker, Eryn, and Michael Saker. "Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms." Convergence: The International Journal of Research into New Media Technologies 26, no. 5-6 (2020): 1159–73. http://dx.doi.org/10.1177/1354856519897251.
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Art museums implicate established spatial and social norms. The norms that shape these behaviours are not fixed, but rather subject to change as the sociality and physicality of these spaces continues to develop. In recent years, the re-emergence of virtual reality (VR) has led to this technology being incorporated into art museums in the form of VR-based exhibits. While a growing body of research now explores the various applications, uses and effects of VR, there is a notable dearth of studies examining the impact VR might be having on the spatial and social experience of art museums. This article, therefore, reports on an original research project designed to address these concerns. The project was conducted at Anise Gallery in London, United Kingdom, between June and July 2018 and focused on the multisensory, and VR-based, exhibition, Scents of Shad Thames. The research involved 19 semi-structured interviews with participants who had just experienced this exhibition. Drawing on scholarly literature that surrounds the spatial and social norms pertaining to art museums, this study advances along three lines. First, the research explores whether the inclusion of VR might alter the practice of people watching, which is endemic of this setting. Second, the research explores whether established ways of navigating the physical setting of art museums might influence how users approach the digital space of VR. Third, the research examines whether the incorporation of VR might produce a qualitatively different experience of the art museum as a shared social space.
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Puig, Anna, Inmaculada Rodríguez, Josep Ll Arcos, et al. "Lessons learned from supplementing archaeological museum exhibitions with virtual reality." Virtual Reality 24, no. 2 (2019): 343–58. http://dx.doi.org/10.1007/s10055-019-00391-z.
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Hernández Ibáñez, Luis A. "Galicia Dixital. Una exposición de patrimonio e-tangible. El Museo Vacío." Virtual Archaeology Review 1, no. 1 (2010): 39. http://dx.doi.org/10.4995/var.2010.4765.
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<p>Galicia Dixital is an exhibition located in Santiago de Compostela whith the mission to show the culture and heritage of this region through the use of new audiovisual technologies, whilst to demonstrate the use and applications of avant-garde technology. This paper describes some of the installations present there with special emphasis in The Empty Museum, a fully immersive virtual reality installation where the user can walk physically visiting virtual worlds. A group of examples of contents designed for this medium will be also described.</p>
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Reading, Anna, Jim Bjork, Jack Hanlon, and Neil Jakeman. "The labour of place: Memory and extended reality (XR) in migration museums." Memory Studies 14, no. 3 (2021): 606–21. http://dx.doi.org/10.1177/17506980211010697.
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How do we understand the relationship between memory and place in the context of Extended Reality (XR) migration museum exhibitions? The study combines a global mapping of XR within migration museums, a user analysis of Cologne’s virtual migration museum, and practice-led research with the UK Migration Museum to argue that XR places in Web 2.0 constitute a multiplication of memory’s significant localities. These include a migration memory’s place of beginning (the location of a migrant experience), the place of production (where the memory is transformed into representation) and the place of consumption (where the mediated memory is engaged with, looked at, heard). Mnemonic labour involving digital frictions at each of these sites constitutes a form of multiple place-making with complex feelings, meanings, and (dis)connections. This points to an innovative approach to understanding and curating XR experiences with museums that recognises the significance of the labour of place.
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Gonizzi Barsanti, S., G. Caruso, L. L. Micoli, M. Covarrubias Rodriguez, and G. Guidi. "3D Visualization of Cultural Heritage Artefacts with Virtual Reality devices." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 11, 2015): 165–72. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-165-2015.
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Although 3D models are useful to preserve the information about historical artefacts, the potential of these digital contents are not fully accomplished until they are not used to interactively communicate their significance to non-specialists. Starting from this consideration, a new way to provide museum visitors with more information was investigated. The research is aimed at valorising and making more accessible the Egyptian funeral objects exhibited in the Sforza Castle in Milan. The results of the research will be used for the renewal of the current exhibition, at the Archaeological Museum in Milan, by making it more attractive. A 3D virtual interactive scenario regarding the “path of the dead”, an important ritual in ancient Egypt, was realized to augment the experience and the comprehension of the public through interactivity. Four important artefacts were considered for this scope: two ushabty, a wooden sarcophagus and a heart scarab. The scenario was realized by integrating low-cost Virtual Reality technologies, as the Oculus Rift DK2 and the Leap Motion controller, and implementing a specific software by using Unity. The 3D models were implemented by adding responsive points of interest in relation to important symbols or features of the artefact. This allows highlighting single parts of the artefact in order to better identify the hieroglyphs and provide their translation. The paper describes the process for optimizing the 3D models, the implementation of the interactive scenario and the results of some test that have been carried out in the lab.
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Yeshenkulova, G. I., R. Ye Agybetova, Y. E. Galiakbarov, and A. G. Gizzatzhanova. "The impact of modern technology on the activities of museums." Bulletin of "Turan" University, no. 1 (March 31, 2021): 145–51. http://dx.doi.org/10.46914/1562-2959-2021-1-1-145-151.
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The article describes the state of museums in the past, the impact of monotonous activities in the country on the number of visitors, as well as the introduction of new technologies and their impact on museums. The importance of using new technologies in the provision of their services, quickly focused on the modern period of museums that are among the top 10 world-famous museums, is emphasized. Virtual tours in 3D format of several foreign and patronymic museums and exhibitions with the use of modern technologies and augmented virtual reality indicate that the museum's attendance is increasing both online and offline. The situation in our country shows that significant work needs to be done to increase the number of visitors to museums, including the use of new technologies, good advertising, various promotions. This idea can be confirmed by the results of a survey on the use of augmented reality and virtual reality technologies in the museum in our country. The desire of a total of 179 participants to visit the museum confirms the need to develop this area. In the near future, people's visits to museums may change, their situation shows that the industry needs to be developed in the future, there is a great opportunity to deliver art to people previously unavailable, people who do not have the opportunity to travel and visit famous museums have online access to the world's best collections. Strict restrictions due to the pandemic have increased people's interest in listening to virtual tours of museums, which, among other things, is due to the fact that the museums themselves are beginning to quickly direct visitors to online tours.
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Goto, Kento, Misato Kotani, and Motomichi Toyama. "3D Virtual museum generation by using SuperSQL." International Journal of Pervasive Computing and Communications 14, no. 2 (2018): 124–46. http://dx.doi.org/10.1108/ijpcc-d-18-00026.
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Purpose Currently, the results of database acquisition are variously expressed, but it seems that users’ understanding degree will be improved by expressing some search results such as images of products of shopping sites in three dimensions rather than two dimensions. Therefore, this paper aims to propose a system for automatically generating 3D virtual museum that arranges 3D objects with various layouts from the acquisition result of relation database by SuperSQL query. Design/methodology/approach The study extended the SuperSQL to generate 3D virtual reality museum using declarative queries on relational data stored in a database. Findings This system made it possible to generate various three-dimensional virtual spaces with different layouts through simple queries. Originality/value It can be said that this system is useful in that a complicated three-dimensional virtual space can be generated by describing a simple query and a different three-dimensional virtual space can be generated by slightly changing the query or database content. When creating a virtual museum, if there are too many exhibitions or when changing the layout, the burden on the user will be high. But in this system, it is possible to automatically generate various virtual museums easily and reduce the burden on users.
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Cai, Y. Y., B. F. Lu, Z. W. Fan, et al. "Proteins, Immersive Games and Music." Leonardo 39, no. 2 (2006): 135–37. http://dx.doi.org/10.1162/leon.2006.39.2.135.
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The authors present their research on using virtual reality (VR) in the presentation of protein music and immersive games. They first describe the core components of VR technology for protein modeling, visualization and interaction. They then present their implementations of VR protein games and protein-derived computer music. Instruction in protein-structure learning is discussed in the context of the authors' trial project in the Chinese High School in Singapore and an exhibition at Singapore Art Museum.
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Marín-Morales, Javier, Juan Luis Higuera-Trujillo, Carla De-Juan-Ripoll, et al. "Navigation Comparison between a Real and a Virtual Museum: Time-dependent Differences using a Head Mounted Display." Interacting with Computers 31, no. 2 (2019): 208–20. http://dx.doi.org/10.1093/iwc/iwz018.
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Abstract The validity of environmental simulations depends on their capacity to replicate responses produced in physical environments. However, very few studies validate navigation differences in immersive virtual environments, even though these can radically condition space perception and therefore alter the various evoked responses. The objective of this paper is to validate environmental simulations using 3D environments and head-mounted display devices, at behavioural level through navigation. A comparison is undertaken between the free exploration of an art exhibition in a physical museum and a simulation of the same experience. As a first perception validation, the virtual museum shows a high degree of presence. Movement patterns in both ‘museums’ show close similarities, and present significant differences at the beginning of the exploration in terms of the percentage of area explored and the time taken to undertake the tours. Therefore, the results show there are significant time-dependent differences in navigation patterns during the first 2 minutes of the tours. Subsequently, there are no significant differences in navigation in physical and virtual museums. These findings support the use of immersive virtual environments as empirical tools in human behavioural research at navigation level. Research highlights The latest generation HMDs show a high degree of presence. There are significant differences in navigation patterns during the first 2 minutes of a tour. Adaptation time need to be considered in future research. Training rooms need to be realistic, to avoid the ‘wow’ effect in the main experiment. Results support the use of Virtual Reality and the latest HMDs as empirical tools in human behavioural research at navigation level.
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Zhang, Yang, and Lin Li. "AR Sand Table with VSTAR System." Key Engineering Materials 480-481 (June 2011): 650–55. http://dx.doi.org/10.4028/www.scientific.net/kem.480-481.650.
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We have proposed a three-dimensional sand table based on the video see-through tabletop augmented reality (VSTAR) system. The hybrid registration algorithm is used combining marker-based OI iterative computer vision method and photoelectric encoders mechanical tracking method instead of computer vision method only, which makes tracking does not dependent on markers, so that the tracking field of vision is not limited to the scope of markers. The system is of high precision and can be used for architecture design show, military topography simulation, museum exhibition and other virtual sand table applications.
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Flores, Julián, Antonio Otero, Eduardo Mallo, and Rubén Arenas. "Sistemas de Visualización Inmersiva, Interactivos y de bajo coste en Museos y Espacios Públicos." Virtual Archaeology Review 1, no. 1 (2010): 93. http://dx.doi.org/10.4995/var.2010.4796.
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<p>Over the past decade, projection based immersive virtual reality systems have increased in popularity. These kinds of systems and their applications left the laboratories and universities and became widely used in museums, schools, and other exhibition spaces. This trend has taken place largely due to vast improvements in the performance of projectors, CPU’s, and PC graphics cards at progressively lower costs. In this paper we present two of the most significant projects from the MAR group of University Santiago de Compostela in the design and development of low cost immersive virtual reality systems, in use at museums and public spaces.</p>
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Flores Gutiérrez, Mariano, Tomás Rufete Martínez, José Macanás Vidal, Juan Martínez García, Carlos María López Martínez, and Francisco Ramos Martínez. "Visor de Realidad Aumentada en Museos (RAM) para Exposiciones Situadas en Entornos Cerrados." Virtual Archaeology Review 2, no. 3 (2011): 87. http://dx.doi.org/10.4995/var.2011.4619.
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<p>Augmented reality has been increasingly used for the last 10 years. Real and virtual world combination supported by this technology has made augmented reality become an essential element for computer generated data integration in real-world. Museum augmented Reality Viewfinder is an interactive system that allows visitors to overlay computer generate contents onto sites and archaeological exhibitions in real time. As the person move the camera around, the position and orientation of the camera perspective is tracked, allowing the overlaid material to remain tied to the physical world. This paper describes concept, architecture and technology inside the Museum augmented Reality Viewfinder, image processing, rendering and PTZ control techniques are also detailed.</p>
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Bergamasco, Massimo, Perla Gianni Falvo, and Giovanni Valeri Manera. "Perceiving Cultural Heritage." Studies in Digital Heritage 2, no. 1 (2018): II—V. http://dx.doi.org/10.14434/sdh.v2i1.27979.
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 Over the years, we have undertaken research projects in the field of cultural heritage perception, trying to analyze the response of the human cognitive system when immersed in Virtual Reality, Augmented Reality or other multimedia supports. Our goal has been to study how to improve design exhibition, utilizing these technologies in museums and cultural heritage sites and to study alternative ways to promote human development through deeper contact with art.
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Górka, Jacek. "PROJECTS FROM THE AREA OF DIGITISATION AND NEW MEDIA IN THE SYBILLA CONTEST." Muzealnictwo 58, no. 1 (2017): 0. http://dx.doi.org/10.5604/01.3001.0010.3943.
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The dynamics of the social, economic and legal changes which took place from 2004 to 2014 related to Poland’s accession to the European Union has changed our reality and the functioning of the state and its institutions, including museums. New possibilities have arisen, together with serious challenges which museum managers and museum professionals have had to face. The National Institute for Museums and Public Collections, established in 2011, has become the organiser of the prestigious Sybilla Museum of the Year Contest, in line with its founding principles. Its organisers decided to carry out open consultations with museum professionals, which has resulted in changes to the regulations for new contest categories, pertaining for example to sources of financing an institution with European funds, and implementing new technological solutions by museums. The growing availability of new technologies has contributed to a new category in the contest “Digitisation and new media”, which appeared for the first time in the regulations for the 34th edition of the Sybilla contest in 2013. The process of technological revolution also applies to museums, as new technologies are present at museum conservation workshops, research papers, exhibition premises and educational activities. Museums use diverse electronic communication solutions, such as websites, applications and social media. Digital technologies are being used on an unprecedented hitherto scale to document and share collections, and to disseminate knowledge about them. During the latest, 37th edition of the Sybilla contest in 2016, a unique project was awarded: the Gulf of Gdańsk Shipwreck Virtual Open-Air Museum. Recording and Inventory of Underwater Archaeological Heritage, carried out by the National Maritime Museum in Gdańsk. An innovative method for submarine documentation, in the form of the photogrammetry of 3D models of shipwrecks from the Gulf of Gdańsk, is being developed as part of the project. Faras in Wikipedia is a featured project by the National Museum in Warsaw. It consists of creating a knowledge database about the Faras Gallery, about the relics of Nubian art which form part of the museum’s collections, and the archaeological expedition and researchers involved, as well as making it available to the readers of Wikipedia and Internet users in Poland and abroad.
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Stobiecka, Monika. "Farewell to Tradition? Presenting Archaeology after the Digital Turn." Advances in Archaeological Practice 8, no. 3 (2020): 313–18. http://dx.doi.org/10.1017/aap.2020.27.
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OVERVIEWThe last 20 years mark a period of transformation from a traditional model of displaying archaeology to a more immersive model supported by digital and virtual media. The traditional model has generally used glass cases accompanied by extensive texts to inform visitors, whereas the immersive model employs digital media, tablets, virtual reality, and augmented reality to attract and engage a wide audience. In light of the recent enthusiasm for the latter, however, one must ask whether such immersive exhibitions are merely superficial means to make public institutions more attractive without having a meaningful impact on audience engagement. Polish archaeological museums provide interesting sites through which to explore this predicament. Here, digital upgrades are generously financed by national funds, so the traditional model of the archaeological museum in Poland is currently almost absent. In this short review, I aim to discuss one of the most interesting examples of temporary digital archaeological exhibitions organized between 2014 and 2019 in the Polish capital of Warsaw. I investigate its potential to engage audiences, ultimately concluding that it managed to create an interesting counterweight to traditional displays and respond to the drawbacks of new digital exhibitions through novel aesthetics and alternative archaeological storytelling.
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Kim, Hyun-a. "The Impact of Virtual Reality on the Extensibility of Exhibition Space and the Usefulness of Outreach Program in the Museum." Asia-pacific Journal of Multimedia services convergent with Art, Humanities, and Sociology 7, no. 5 (2017): 83–92. http://dx.doi.org/10.14257/ajmahs.2017.05.26.
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Gherardini, Francesco, Mattia Santachiara, and Francesco Leali. "Enhancing heritage fruition through 3D virtual models and augmented reality: an application to Roman artefacts." Virtual Archaeology Review 10, no. 21 (2019): 67. http://dx.doi.org/10.4995/var.2019.11918.
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<p>The spatial characteristics of museum exhibitions may limit visitors’ experience of the artefacts on display. In the case of large artefacts, limited space may affect their whole visualization, or inhibit the visualization of the details farthest from the observer. In other cases, the storage of artefacts in distant sites (museums or archaeological areas) may influence their knowledge process or the possibility for comparative analysis. Moreover, the precarious state of preservation of some artefacts, with damaged or missing parts, makes it difficult to perceive their original appearance. To overcome these limitations, we propose an integrated approach based on 3D virtual models and Augmented Reality (AR) to enhance the fruition of artefacts, improving their visualization, analysis and personal/shared knowledge, also by overcoming space and time constraints. The final AR application is an easily accessible tool for most users from a mobile device, used both inside and outside museums, opening new perspectives for fruition. The framework encourages the use of free and open source software and standard devices, to maximize their dissemination and exploit the potential of such technologies, which is far greater than current use in the cultural heritage field. Selected case studies to test and validate the integrated framework are proposed, dealing with some Roman artefacts found in the area of Modena (Italy). The first is a Roman floor mosaic, found in Savignano sul Panaro (near Modena) in 2011, of which less than half of its original 4.5 x 6.9 m surface is preserved. The others are two Roman funerary lion sculptures: the first is one of two lions flanking the main door of Modena Cathedral, and the second, well-preserved but damaged, is housed in the Museo Lapidario Estense of Modena. Finally, the application was tested by museum experts and visitors both inside and outside the museum, and positively assessed.</p><p><strong>Highlights:</strong></p><ul><li><p>Digital practice is not understood as a prerogative of a small number of people, but as a tool to guarantee and expand artefact fruition, using standard devices and free and open source software.</p></li><li><p>Experimentation of new settings to re-contextualize artefacts and establish possible links among them, offering engaging and customized experiences to improve their accessibility and enjoyment.</p></li><li><p>Promotion of artefact fruition not only in but also outside museums, such as in a classroom or an open and shared space, opening to new approaches in the fruition of cultural heritage.</p></li></ul>
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Barreau, Jean-Baptiste, Elen Esnault, Jérôme Foucher, Manon Six, and Cécile Le Faou. "3D modelling of a 15th century city gate of Rennes: Portes Mordelaises." Virtual Archaeology Review 11, no. 22 (2020): 41. http://dx.doi.org/10.4995/var.2020.12653.
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The Portes Mordelaises, remnants of the medieval city walls of Rennes, France, has been the subject of several archaeological excavations until 2017. From these excavations, we created a three-dimensional (3D) model of the site reconstructed as it would have appeared during the 15th century, including the surrounding plus the interiors of its famed towers. Once our efforts and results were officially recognised as being of national interest by the French Ministry of Culture and Communication, Department of Heritage and the National Museum Service of France, we presented our virtual model reconstruction in an exhibition curated by the Museum of Bretagne, entitled "Rennes, les vies d'une ville" (Rennes, the Lives of a City). This approach to 3D reconstruction of the site served to further study Rennes’ origins, its construction, organisation, as well as its historic relationship to surrounding territories. The main objective of this work was to investigate, using of a significant and complex archaeological site as proof of concept, how the digitalisation of an existing structure, the modelling of its hypothetical structures, and the interactions with its virtual spaces enabled the general public to provide critical feedback, and enhance archaeological knowledge and evaluation of such sites. This reconstruction was carried out under a West Digital Conservatory of Archaeological Heritage project, whose mission is to support and advise archaeologists in the production and exploration of 3D archaeological datasets using the latest digitisation, modelling, and virtual reality (VR) techniques. Through a complex but repeatable process, using the valuable data provided by various excavations, in addition to new information provided by the 3D digitalisation itself, we produced a 3D model, fully satisfactory to rigorous scientific standards, which was then incorporated into a VR space ready for diffusion to the general public. Furthermore, the fact that 45850 visitors were welcome to experience our 3D model at an exhibition in a city the size of Rennes proved to be a significant success.
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Blazhenkova, Y. P. "Modern interactive technologies in the cultural and educational activities of the art museum (in case of the Primorye State Art Gallery)." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 121–30. http://dx.doi.org/10.46748/arteuras.2020.03.010.
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The article analyzes the experience of introducing interactive technologies in the practice of scientific and educational work of an art museum. The article considers the prerequisites for using such practices, pros and cons, relevance and prospects for their development in the Primorye State Art Gallery in 2014–2020. On the basis of a number of exhibition projects held in the gallery, the effectiveness of such forms of interaction with the audience is shown as the following: thematic video presentation, expansion of information carriers using QR codes, virtual reality cinema, elements of augmented reality, or AR, quests within the edutainment direction. The article also briefly presents the communication of employees of the Primorye State Art Gallery with the audience in social networks. В статье анализируется опыт внедрения интерактивных технологий в научно-просветительскую работу художественного музея. Рассматриваются предпосылки возникновения таких практик, плюсы и минусы, актуальность и перспективы развития в Приморской государственной картинной галерее в 2014–2020 годы. На примере ряда выставочных проектов, состоявшихся в галерее, показана эффективность таких форм взаимодействия со зрителями, как тематическая видеопрезентация, расширение информационных носителей с помощью QR-кодов, кинотеатр виртуальной реальности, элементы дополненной реальности, или AR, квесты в рамках направления «эдьютейнмент» — игрового и развлекательного обучения. Кратко представлена коммуникация сотрудников музея с аудиторией в социальных сетях.
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Aiello, D., S. Fai, and C. Santagati. "VIRTUAL MUSEUMS AS A MEANS FOR PROMOTION AND ENHANCEMENT OF CULTURAL HERITAGE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 19, 2019): 33–40. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-33-2019.
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<p><strong>Abstract.</strong> The use of virtual reality and ICT in the museum context provides a new key to understand and promote Cultural Heritage: thanks to these technologies the user has the opportunity to experience without the need to come into contact with the real objects. For the museum institutions VR and ICT are a valuable tool that allows them to perform different cultural tasks, addressing the public in a much more effective way than has previously been possible. Especially through VR, it is possible to reconstruct the original context of the artworks through the interconnection of contents: the virtual visitor, while viewing the artwork, can consult useful contents for the learning process. Another revolutionary element introduced by the new technologies is linked to the possibility of creating virtual exhibitions through which it is possible to exhibit works that are not accessible or not visible. These reflections and these theoretical principles were the basis for the development of the project proposal presented in these pages, that was born as a collaboration between the R<sup>3</sup>D Lab of the Museo della Rappresentazione of University of Catania and the CIMS Lab of Carleton University, Ottawa. It consists in the creation of a virtual museum, the Timeless Museum, in order to create an educational experience, able to make the users reflect on topics such as the value of history, the sense of beauty, the relationship with our past and our future, the protection and transmission to future generations of the artistic heritage we have.</p>
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Jiménez Fernández-Palacios, B., A. Rizzi, and F. Remondino. "Etruscans in 3D - Surveying and 3D modeling for a better access and understanding of heritage -." Virtual Archaeology Review 4, no. 8 (2015): 85. http://dx.doi.org/10.4995/var.2013.4324.
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<p>Archaeological 3D digital documentation of monuments and historical sites should be considered a precious source of information and it can be very useful for preservation, conservation, restoration and reconstruction of Cultural Heritage. This paper reports a work dealing with 3D surveying and modeling of different Etruscan heritage sites, featuring necropolis with underground frescoed tombs dating back to VII-IV century B.C., located in the area corresponding roughly to the actual central Italy. The project “Etruscans in 3D” was born with the aim of digital documentation, study, analyses and preservation of Etruscan heritage monuments and sites, but also to create digital contents for virtual visits, museum exhibitions, virtual and augmented reality, better access and communication of the<br />heritage information.</p>
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Dаtsenko, A. A. "The ways of gathering of the art works of Primorye in the funds of Primorye State Art Gallery." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 41–56. http://dx.doi.org/10.46748/arteuras.2020.03.004.
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The article analyzes the experience of introducing interactive technologies in the practice of scientific and educational work of an art museum. The article considers the prerequisites for using such practices, pros and cons, relevance and prospects for their development in the Primorye State Art Gallery in 2014–2020. On the basis of a number of exhibition projects held in the gallery, the effectiveness of such forms of interaction with the audience is shown as the following: thematic video presentation, expansion of information carriers using QR codes, virtual reality cinema, elements of augmented reality, or AR, quests within the edutainment direction. The article also briefly presents the communication of employees of the Primorye State Art Gallery with the audience in social networks. Статья посвящена истории и направлениям комплектования коллекции приморского искусства в Приморской государственной картинной галерее. Процесс формирования коллекции самого восточного художественного музея России представлен комплексно, с опорой на архивные документы и в соответствии с этапами развития художественного процесса Приморского края. Материал исследования охватывает период с 1930-х годов до 2020 года и отражает становление разных видов приморского изобразительного искусства: живописи, скульптуры, графики, декоративно-прикладного искусства. Широко представлен жанровый диапазон произведений: портрет, пейзаж, тематическая и историческая картины, анималистика и многие другие. Впервые сделан обзор поступлений последнего десятилетия в коллекцию галереи.
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Champion, Erik, and Hafizur Rahaman. "3D Digital Heritage Models as Sustainable Scholarly Resources." Sustainability 11, no. 8 (2019): 2425. http://dx.doi.org/10.3390/su11082425.
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If virtual heritage is the application of virtual reality to cultural heritage, then one might assume that virtual heritage (and 3D digital heritage in general) successfully communicates the need to preserve the cultural significance of physical artefacts and intangible heritage. However, digital heritage models are seldom seen outside of conference presentations, one-off museum exhibitions, or digital reconstructions used in films and television programs. To understand why, we surveyed 1483 digital heritage papers published in 14 recent proceedings. Only 264 explicitly mentioned 3D models and related assets; 19 contained links, but none of these links worked. This is clearly not sustainable, neither for scholarly activity nor as a way to engage the public in heritage preservation. To encourage more sustainable research practices, 3D models must be actively promoted as scholarly resources. In this paper, we also recommend ways researchers could better sustain these 3D models and assets both as digital cultural artefacts and as tools to help the public explore the vital but often overlooked relationship between built heritage and the natural world.
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Kim, Seulah, Dong-uk Im, Jongoh Lee, and Heejae Choi. "Utility of Digital Technologies for the Sustainability of Intangible Cultural Heritage (ICH) in Korea." Sustainability 11, no. 21 (2019): 6117. http://dx.doi.org/10.3390/su11216117.
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The importance of preserving intangible cultural heritage (ICH) for sustainable development has been widely acknowledged by the international society. Various forms of cooperation have taken place to prevent deterioration and destruction due to its inherent characteristic of ‘intangibleness’. Public engagement, however, has largely been excluded from the system in spite of its significance in safeguarding ICH by inducing people to be trained as successors. In this respect, this paper discusses and emphasises the necessity of public engagement in safeguarding ICH. To this end, it suggests the use of digital technologies to create museum content to encourage public involvement with and learning about ICH. Focusing on ICH in Korea, digital exhibitions on Jultagi and Daemokjang utilising virtual reality technology are proposed. The ultimate aim of this article is to contribute to the sustainability of world ICH for humanity through digital exhibitions.
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Falconer, Liz, David Burden, Rosamund Cleal, et al. "Virtual Avebury: exploring sense of place in a virtual archaeology simulation." Virtual Archaeology Review 11, no. 23 (2020): 50. http://dx.doi.org/10.4995/var.2020.12924.
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<p class="VARAbstract">This paper describes and discusses creating and evaluating a virtual reality simulation of Avebury Stone Circle and Henge complex as it might have appeared and sounded circa 2300 BCE. Avebury is a Neolithic heritage site in the UK which is part of the Stonehenge, Avebury and associated sites UNESCO World Heritage Site. The overall aim of the project was to better understand the sense of place and presence that visitors can experience in virtual simulations of heritage sites. We investigated how virtual spaces might become experienced as places by visitors through their exploration, active participation, sensory stimulation and communication with other visitors in the simulation. More than 1200 members of the public experienced the simulation, both at Avebury itself and at three public exhibitions. The specific objectives of the project were to explore if and how the believability of a simulation was associated with feeling a sense of place in the virtual landscape, and if some personal characteristics, viz. age, disability, sex, immersive tendency, familiarity with IT and frequency of playing computer games, were associated with levels of enjoyment in, and learning from, the simulation. We analysed the data from a detailed questionnaire completed by 388 of the 702 visitors to Avebury from June to September 2018 who experienced the simulation, supported by observational data from all participants at all events. We found that believability was associated with a sense of place in the simulation, i.e. that the more believable the simulation appeared, the greater the sense of place experienced by the participants. We also found that personal characteristics had very little influence upon visitor reactions to the simulation, suggesting that such simulations might have wide appeal for heritage and museum visitors, regardless of age, gender or familiarity with technology.</p><p class="VARAbstractHeader">Highlights</p><ul><li><p>More than 1200 members of the public experienced a 3D, fully immersive simulation of Avebury Henge, Wiltshire, UK over a nine-month period.</p></li><li><p>We found patterns of use and familiarity with information technology (IT), and using mobile technologies for gaming, that did not follow age and gender stereotypes.</p></li><li><p>We found little correlation between age, gender and IT familiarity with reactions to Virtual Avebury, suggesting that such simulations might have wide appeal for heritage site visitors.</p></li></ul>
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Shih, D. T., C. L. Lin, and C. Y. Tseng. "Combining Digital Archives Content with Serious Game Approach to Create a Gamified Learning Experience." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 13, 2015): 387–94. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-387-2015.
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This paper presents an interdisciplinary to develop content-aware application that combines game with learning on specific categories of digital archives. The employment of content-oriented game enhances the gamification and efficacy of learning in culture education on architectures and history of Hsinchu County, Taiwan. The gamified form of the application is used as a backbone to support and provide a strong stimulation to engage users in learning art and culture, therefore this research is implementing under the goal of “The Digital ARt/ARchitecture Project”. <br><br> The purpose of the abovementioned project is to develop interactive serious game approaches and applications for Hsinchu County historical archives and architectures. Therefore, we present two applications, “3D AR for Hukou Old ” and “Hsinchu County History Museum AR Tour” which are in form of augmented reality (AR). By using AR imaging techniques to blend real object and virtual content, the users can immerse in virtual exhibitions of Hukou Old Street and Hsinchu County History Museum, and to learn in ubiquitous computing environment. <br><br> This paper proposes a content system that includes tools and materials used to create representations of digitized cultural archives including historical artifacts, documents, customs, religion, and architectures. The Digital ARt / ARchitecture Project is based on the concept of serious game and consists of three aspects: content creation, target management, and AR presentation. The project focuses on developing a proper approach to serve as an interactive game, and to offer a learning opportunity for appreciating historic architectures by playing AR cards. Furthermore, the card game aims to provide multi-faceted understanding and learning experience to help user learning through 3D objects, hyperlinked web data, and the manipulation of learning mode, and then effectively developing their learning levels on cultural and historical archives in Hsinchu County.
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Moskvin, Aleksei, Mariia Moskvina, and Victor Kuzmichev. "Parametric modeling of historical mannequins." International Journal of Clothing Science and Technology 32, no. 3 (2019): 366–89. http://dx.doi.org/10.1108/ijcst-06-2019-0093.
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Purpose Digital technologies are widely used for digitization of museum and archival heritage and creation of digital, multimedia and online exhibitions, especially in terms of costume history. Digital exhibitions require historical dress forms which were used in the past for costume presentation. The purpose of this paper is to develop a new method for parametric modeling of the nineteenth century dress forms in accordance with fashionable body shape. Design/methodology/approach Due to limited number of body measurements in historical sizing tables, it is impossible to redesign the morphology of old fashionable body with high accuracy by means of contemporary CAD. The developed method is based on two sources of information: first, historical sizing tables with body measurements; second, historical corsets. By combining both resources and applying virtual try-on technology, the full anthropometric database about the nineteenth century fashionable body shape has been organized and the parametric model of historical dress form has been generated. Findings The digital replica of deformable parametric dress form was created automatically in accordance with the historical sizing systems and the corsets construction. The process of reproduction of a historical dress form has been done with high accuracy due to substantial advantages of contemporary software. Originality/value This study shows new way of anthropometric data generating from the construction of close-fitting and compression undergarments. The developed method and the new database can be applied for each type of dress forms which were used in the second part of the nineteenth century to generate its digital replica in virtual reality. The new approach is joining the digital technologies and the professional knowledge as an important part of cultural heritage for studying, recreating and presenting historical costume.
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Pierdicca, Roberto, Eva Savina Malinverni, Emanuele Frontoni, Francesca Colosi, and Roberto Orazi. "3D visualization tools to explore ancient architectures in South America." Virtual Archaeology Review 7, no. 15 (2016): 44. http://dx.doi.org/10.4995/var.2016.5904.
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<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p>Chan Chan is a wide archaeological site located in Peru. Its knowledge is limited to the visit of Palacio Tschudi, the only restored up to now, whilst the majority of the site remains unknown to the visitors. The reasons are manifold. The site is very large and difficult to visit. Some well-conserved architectures, such as Huaca Arco Iris, are very far from the core centre. Furthermore, there are heavy factors of decay, mainly caused by illegal excavations, by marine salt and by the devastating phenomenon of El Niño. For these reasons, the majority of the decorative elements are protected by new mud brick walls. Finally, the vastness of the buildings makes difficult to understand their real value, even through a direct visit of the site. In order to overcome the aforesaid problems, we designed, developed and realized the museum exhibition presented in this paper. We named Esquina Multimedia an installation where every corner is aimed to solve a specific problem, providing the tourists with interactive and enjoyable applications. The virtual tour allows reaching also the unreachable areas. An Augmented Reality (AR) application has been developed in order to show ancient artefacts covered by the earth. A web-browser has been specifically designed to show bas-reliefs, with HD visualization, anaglyph stereoscopic view and a 3D virtual model of both the structures and the bas-reliefs. At the same time, a wall-mounted panel representing a metric 3D reconstruction of the building helps the user to find the artefact position. Descriptions of the hardware components and of the software details are presented, with particular focus regarding the implementation of the application, arguing how the digital approach could represent the only answer towards a full exploitation of archaeological sites. The paper also deals with the implementation of a web tool, specifically designed to display and browse 3D-Models.</p></div></div></div></div></div></div>
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Kiourt, Chairi, Anestis Koutsoudis, and Dimitris Kalles. "Enhanced Virtual Reality Experience in Personalised Virtual Museums." International Journal of Computational Methods in Heritage Science 2, no. 1 (2018): 23–39. http://dx.doi.org/10.4018/ijcmhs.2018010103.
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This article focuses on important factors in the creation of enhanced personalised experiences in virtual environments for cultural heritage applications, especially those targeting virtual museums and exhibitions. Some of the most important factors relating to personalised virtual museums that relate to intelligent content and user modelling in virtual environments are being highlighted and discussed. After an extensive review of the current trends in the domain, the article presents a generalised framework for the development of the next generation enhanced VR experiences in personalised virtual museums. This framework, which naturally surfaces from the domain, was put to the test in the development of the DynaMus platform and two case studies based on this platform are referenced and commented to support such an approach. This concept can serve as the general framework for developing enhanced personalised virtual environments for cultural heritage applications.
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Merino, Antonia, Carlos Márquez, and Ramón González. "APP 3D: el ciclo escultórico del foro de Torreparedones (Baena, Córdoba)." Virtual Archaeology Review 9, no. 19 (2018): 89. http://dx.doi.org/10.4995/var.2018.9424.
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<p><strong>Extended Abstract:</strong></p><p>The archaeological site of Torreparedones (Baena) is one of the most outstanding Roman sites in the Province of Cordoba, due to not only the structural remains excavated in recent decades, but also the relevance through the relevance of other recovered materials. In recent years, among the recordings made during excavations and in the area of the north portico of the forum and the temple, an important sculptural group from the high imperial time was documented. The sculptural cycle consists of two dynastic groups, which are currently part of the museum exhibition of Baena. The first, found in the area of the gate, consists of a toga, a female figure, a military sculpture and a fragment ideal statue (of the type hüftmantel). The second group, from the temple or near the same area, consists of two male and female seated statues representing: Divus Augustus, Divus Claudius and Diva Augusta (Livia). The latter offers a representation of idealized types, as characters portraits were produced post-mortem once the senate decreed their deification time. Because of the importance of this second group, a three-dimensional (3D) model of each of the pieces has been created. The main objective of this research, with some results presented in this article, is further development of a mobile application that allows disseminating results and promotes the use of virtual reality in the field of heritage. In order to carry out the development of the app the following lines of action have been followed: 1) Recording by the sculptural 3D scanning cycle; and 2) the development of a 3D digital catalogue for the dissemination and study within the framework of scientific research.</p><p>Data collection of the surface was performed by using a 3D laser scanner, a tool that allows obtaining sub-millimetre resolution and accuracy. After obtaining the results, we processed and checked the quality of the acquired points, best-fit and registration of successive surface recordings, and filtering and cleaning of the point clouds. To disseminate the findings of this research we chose to carry out analyses with a free application called "Sculptural Cycle Torreparedones" available for the Android operating system. With this app, the user can access all the information available, with periodic updates as the progress of other ongoing investigations. This application allows and intuitive and easy way of navigation, see the 3D models of the sculptures, as well as access a virtual tour of Rome in 360° room of the museum of Baena.</p><p>Also, the user can access different multimedia content related to the site. As representative logo for the app, the icon of the half-head portrait of Divus Augustus was selected along with the title “3D Sculptural Cycle Torreparedones” as it is one of the largest and best known general level sculpture images. Since the app has been available since October 2017, a survey for assessing the app was conducted in order to know its impact and anticipate future necessary changes. In the course of this system, we have known the user skills in handling the application and the great interest of the youngest people in 3D.Theresults of this survey confirm that this work is an example of how this communication channel can be of service to the valorization and intelligibility of archaeological heritage. It not only allows knowing the materials recovered during the excavations of Torreparedones but also facilitates the visitor to establish a direct connection between the museum and the archaeological site. The application 3D Sculptural Cycle Torreparedones joins other works developed for 3D models digitized as a virtual catalogue, as is the Epigraphia3D app and other applications made with visits 360° as the case of the mobile application Guadiat VR -Belmez (Spain).</p>
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Ch’ng, Eugene, Shengdan Cai, Tong Evelyn Zhang, and Fui-Theng Leow. "Crowdsourcing 3D cultural heritage: best practice for mass photogrammetry." Journal of Cultural Heritage Management and Sustainable Development 9, no. 1 (2019): 24–42. http://dx.doi.org/10.1108/jchmsd-03-2018-0018.
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PurposeThe purpose of this paper is to present the rationale for democratising the digital reproduction of cultural heritage via “mass photogrammetry”, by providing approaches to digitise objects from cultural heritage collections housed in museums or private spaces using devices and photogrammetry techniques accessible to the public. The paper is intended as a democratised approach rather than as a “scientific approach” for the purpose that mass photogrammetry can be achieved at scale.Design/methodology/approachThe methodology aims to convert the art of photogrammetry into a more mechanical approach by overcoming common difficulties faced within exhibition spaces. This approach is replicable and allows anyone possessing inexpensive equipment with basic knowledge of photogrammetry to achieve acceptable results.FindingsThe authors present the experience of acquiring over 300 3D models through photogrammetry from over 25 priority sites and museums in East Asia. The approach covers the entire process from capturing to editing, and importing 3D models into integrated development environments for displays such as interactive 3D, Virtual Reality and Augmented Reality.Practical implicationsThe simplistic approach for democratised, mass photogrammetry has implications for stirring public interests in the digital preservation of heritage objects in countries where museums and cultural institutions have little access to digital teams, provided that Intellectual Property issues are cared for. The approach to mass photogrammetry also means that personal cultural heritage objects hidden within the homes of various societies and relics in circulation in the antiques market can be made accessible globally at scale.Originality/valueThis paper focuses on the complete practical nature of photogrammetry conducted within cultural institutions. The authors provide a means for the public to conduct good photogrammetry so that all cultural heritage objects can be digitally recorded and shared globally so as to promote the cross-cultural appreciation of material cultures from the past.
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Pujol Tost, Laia. "Comprender lo virtual: conclusiones de un estudio evaluativo sobre reconstrucciones virtuales en los museos arqueológicos." Virtual Archaeology Review 1, no. 1 (2010): 157. http://dx.doi.org/10.4995/var.2010.5139.
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<p>This paper aims at presenting the conclusions of a middle-term research project undertaken in several European museums in order to obtain empirical data about the specific contribution of Virtual Reality for the dissemination of Archaeology, its integration in exhibitions and its perception and real use by audiences. The ultimate aim of this research project is to provide a theoretical and practical framework for the use of Virtual Reality in the Cultural Heritage field, in which professionals can find the basis of its specific usefulness, tools for its evaluation and, above all, guidelines for the design of future applications.</p>
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Bhattacharya, Shaoni. "Virtual reality resurrects a defunct exhibition." New Scientist 219, no. 2931 (2013): 49. http://dx.doi.org/10.1016/s0262-4079(13)62103-x.
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Najbrt, Lukáš, and Jana Kapounová. "Categorization of Museum Visitors as Part of System for Personalized Museum Tour." International Journal of Information and Communication Technologies in Education 3, no. 1 (2014): 17–27. http://dx.doi.org/10.1515/ijicte-2014-0002.
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Abstract In the past few years, the process of lifelong learning has become more important. A tour of an educational exhibition is an interesting and attractive activity for a person receiving an education. A museum, art gallery, zoological or botanical garden or even a technological park can all be perceived as an educational exhibition. If we want the exhibition tour to provide an educational benefit to the visitor, we need to offer him adequate information about individual exhibits. The exhibition has to be personalized, that is, tailored for the various kinds of visitors. This paper deals with the issue of categorizing museum visitors using ICT, specifically an expert system which is a part of a “virtual guide”. Based on an initial analysis of a visitor, the virtual guide proposes a tour through the exhibition so that it brings the visitor the maximum educational benefit while at the same time offers information about the displayed exhibits in such a way that is most interesting and comprehensible.