Mobile Augmented Reality in Museums : Towards Enhancing Visitor's Learning Experience

This article presents the design and implementation of a handheld Augmented Reality (AR) system called Mobile Augmented Reality Touring System (M.A.R.T.S). The results of experiments conducted during museum visits using this system are also described. These experiments aim at studying how such a tool can transform the visitor’s learning experience by comparing it to two widely used museum systems. First, we present the museum’s learning experience and a related model which emerged from the state of the art. This model consists of two types of activity experienced by the observer of a work of art: sensitive and analytical. Then, we detail M.A.R.T.S architecture and implementation. Our empirical study highlights the fact that AR can direct visitors’ attention by emphasizing and superimposing. Its magnifying and sensitive effects are well perceived and appreciated by visitors. The obtained results reveal that M.A.R.T.S contributes to a worthwhile learning experience

Advances in human-computer interaction : graphics and animation components for interface design

We present an analysis of communicability methodology in graphics and animation components for interface design, called CAN (Communicability, Acceptability and Novelty). This methodology has been under development between 2005 and 2010, obtaining excellent results in cultural heritage, education and microcomputing contexts. In studies where there is a bi-directional interrelation between ergonomics, usability, user-centered design, software quality and the human-computer interaction. We also present the heuristic results about iconography and layout design in blogs and websites of the following countries: Spain, Italy, Portugal and France

Digital Alchemy: Matter and Metamorphosis in Contemporary Digital Animation and Interface Design

The recent proliferation of special effects in Hollywood film has ushered in an era of digital transformation. Among scholars, digital technology is hailed as a revolutionary moment in the history of communication and representation. Nevertheless, media scholars and cultural historians have difficulty finding a language adequate to theorizing digital artifacts because they are not just texts to be deciphered. Rather, digital media artifacts also invite critiques about the status of reality because they resurrect ancient problems of embodiment and transcendence.In contrast to scholarly approaches to digital technology, computer engineers, interface designers, and special effects producers have invented a robust set of terms and phrases to describe the practice of digital animation. In order to address this disconnect between producers of new media and scholars of new media, I argue that the process of digital animation borrows extensively from a set of preexisting terms describing materiality that were prominent for centuries prior to the scientific revolution. Specifically, digital animators and interface designers make use of the ancient science, art, and technological craft of alchemy. Both alchemy and digital animation share several fundamental elements: both boast the power of being able to transform one material, substance, or thing into a different material, substance, or thing. Both seek to transcend the body and materiality but in the process, find that this elusive goal (realism and gold) is forever receding onto the horizon.The introduction begins with a literature review of the field of digital media studies. It identifies a gap in the field concerning disparate arguments about new media technology. On the one hand, scholars argue that new technologies like cyberspace and digital technology enable radical new forms of engagement with media on individual, social, and economic levels. At the same time that media scholars assert that our current epoch is marked by a historical rupture, many other researchers claim that new media are increasingly characterized by ancient metaphysical problems like embodiment and transcendence. In subsequent chapters I investigate this disparity

Electronic Imaging & the Visual Arts. EVA 2013 Florence

Important Information Technology topics are presented: multimedia systems, data-bases, protection of data, access to the content. Particular reference is reserved to digital images (2D, 3D) regarding Cultural Institutions (Museums, Libraries, Palace – Monuments, Archaeological Sites). The main parts of the Conference Proceedings regard: Strategic Issues, EC Projects and Related Networks & Initiatives, International Forum on “Culture & Technology”, 2D – 3D Technologies & Applications, Virtual Galleries – Museums and Related Initiatives, Access to the Culture Information. Three Workshops are related to: International Cooperation, Innovation and Enterprise, Creative Industries and Cultural Tourism

A machine for playing in: Exploring the videogame as a medium for architectural design

This paper aims to investigate what is unique about videogame spaces and their construction, and how they might be utilised by architects. This design-led study establishes videogames as an architectural medium through practice-based research projects, examining game worlds as architectural spaces by developing design methods to analyze their environments. It then discusses developing games as architectural representations combining virtual space with computational rules. The paper's final study suggests how game structures might be applied in design approaches for ostensibly real sites. Through four case study projects, I outline a new form of architectural design practice operating between physical and virtual, reflecting the cultural influence of game worlds and exploring videogame environments as new ways to ‘realise’ architecture

Establishing Design Principles for Augmented Reality for Older Adults

Augmented Reality (AR) is growing rapidly and becoming a more mature and robust technology, which combines virtual information with the real environment in real-time. This becomes significant in ensuring the acceptance and success of Augmented Reality systems. With the growing number of older mobile phone users, evidence shows the possible trends associated with using AR systems to support older adults in terms of transportation, home activities, rehabilitation training and entertainment. However, there is a lack of research on a theoretical framework or AR design principles that could support designers when developing suitable AR applications for specific groups (e.g. older adults). This PhD research mainly focuses on the possibility of developing and applying AR design principles to provide various possible design alternatives in order to address the relevant AR-related issues focusing on older adults. This research firstly identified the architecture of Augmented Reality to understand the definition of AR using a range of previous AR examples. Secondly, AR design principles (version 1) were identified after describing the AR features and analysing the AR design recommendations. Thirdly, this research refined the AR design principles (version 2) by conducting two half-day focus groups with AR prototypes and related scenarios for older adults. The final version of the AR design principles (version 3) for older adults was established. These are: Instantaneous Augmentation, Layer-focus Augmentation, Modality-focus Augmentation, Accurate Augmentation and Hidden Reality. Ultimately, all of these design principles were applied to AR applications and examined in practice using two focus groups. Additionally, as part of the process of AR principle development, a number of AR issues were identified and categorised in terms of User, Device, Augmentation, Real Content, Interaction and Physical World, based on the pre-established AR architecture. These AR issues and design principles may help AR designers to explore quality design alternatives, which could potentially benefit older adults

AUGMENTED TURIN BAROQUE ATRIA: AR EXPERIENCES FOR ENHANCING CULTURAL HERITAGE

Abstract. This paper presents the most recent developments in a project aimed to the documentation, storage and dissemination of the cultural heritage. The subject of the project are more than 70 Baroque atria in Turin, recognized by critics for their particular unitary vaulted systems Our research team is currently working on digitizing documents and studying ways to enhance and share these results through ICT. In particular, we want to explore possibilities for recognizing and tracing three-dimensional objects in augmented reality (AR) applications connected to the collected data. Recent developments in this field relate to the technology available on widespread mobile devices such as tablets and smartphones, allowing for real-time 3D scanning. Using software prototypes, we want to introduce some problems involved in integrating this technology into digital archives.</p

Digital 3D Technologies for Humanities Research and Education: An Overview

Digital 3D modelling and visualization technologies have been widely applied to support research in the humanities since the 1980s. Since technological backgrounds, project opportunities, and methodological considerations for application are widely discussed in the literature, one of the next tasks is to validate these techniques within a wider scientific community and establish them in the culture of academic disciplines. This article resulted from a postdoctoral thesis and is intended to provide a comprehensive overview on the use of digital 3D technologies in the humanities with regards to (1) scenarios, user communities, and epistemic challenges; (2) technologies, UX design, and workflows; and (3) framework conditions as legislation, infrastructures, and teaching programs. Although the results are of relevance for 3D modelling in all humanities disciplines, the focus of our studies is on modelling of past architectural and cultural landscape objects via interpretative 3D reconstruction methods

3-D Cinema: Immersive Media Technology

Article exploring 3-D cinema.Copyright © Springer Science+Business Media Dordrecht 20153-D cinema is a largely overlooked media within geographical critique. This omission is notable given both the sustained academic consideration afforded to other popular media, the medium’s significant commercial and popular success, and its status as an ‘affective’ and captivating storytelling medium. With reference to film industry advertisements, the experiential dimensions of the 3-D cinematic encounter and its (popular) framing as an ‘immersive’ consumer experience are explored. In particular, the notion of ‘immersion’ is unpacked with reference to the medium’s engineering and production techniques. In so doing, the intertwinement of the industrial desire for ever more ‘immersive’ and ‘realistic’ consumer experience is explored in relation to the engineering techniques exhibiting perceptual mimicry, or what could be termed ‘mimetic engineering’. The association between 3-D cinema and ‘tactile’ images is then explored with reference to geographic literatures on ‘haptics’ and technologies of touch. A number of recent ‘innovations’ in these fields are drawn upon in order to complicate 3-D cinema’s association with ‘tactility’. In so doing, a technological shift towards the increasingly pervasive and sophisticated engagement of the wider multi-sensory palette is explored. Drawing upon recent media technology ‘innovations’, this persistent and relentless desire for ever more ‘immersive’ and perceptually-convincing media technology is explored in light of developing media geographies

Mixed Reality for Historic Preservation

Digital technologies are becoming widely available to experts in the field of historic preservation. These tools equip experts with the capability to obtain high resolution and accurate information about cultural heritage, which can be accurately reproduced and rematerialized without coming into contact with the physical object itself. This preservation approach is described as non-contact, meaning that it is not invasive to the material integrity of an artifact. Since the turn of the century, stakeholders in the field have increasingly focused their attention on digital technologies for advancing the field. The motivation for experts to preserve cultural heritage with digital technologies starts with the idea of merging the two, and in recent years, innovations in high-resolution digital imaging, recording, processing, modeling and reproduction capabilities have fostered the integration of a virtual environment. Mixed Reality (MR), which the merging of digital and physical worlds, not only allows experts to expand possibilities for preservation interventions once all physical range of actions have been exhausted, but it also makes it possible for experts to intervene digitally before carrying out a preservation treatment. MR can be used as a tool to create hybrid environments for experts and researchers to better manage and understand cultural heritage, which in turn allows them to provide the public with a deeper understanding about cultural heritage. The traditionally object-centric nature of the historic preservation field favors MR over Virtual Reality, since the former engages with the physical site or artifact themselves. By allowing field experts and visitors to visualize scenes in situ from viewpoints that are impossible due to size, content or accessibility issues, the installation of MR’s formless aesthetics engages viewers of cultural heritage through new and innovative ways. The application of MR offers countless strategies for approaching conservation and interpretation projects in historic preservation. But, despite its capacity to enhance the practice of historic preservation, MR poses new technological and methodological questions for the field. As a burgeoning tool and constantly changing field, there have been very few studies conducted on the application of MR to the field of historic preservation. This thesis argues that, on the one hand, MR provides innovative strategies for approaching preservation problems; but on the other hand, the absence of standards, guidelines, and techniques make it difficult to evaluate and propose new projects in the field. As a response to this deficiency, I propose a framework to evaluate and use MR for the preservation of cultural heritage. This framework is first tested to evaluate three case studies, and next, to propose a unique MR strategy for the complex preservation case of the San Baudelio de Berlanga Hermitage in the province of Soria, Spain. This thesis aims to contribute a MR framework and methodology that provides a consistent conceptual approach to MR projects in the field