Toward a model of computational attention based on expressive behavior: applications to cultural heritage scenarios

Our project goals consisted in the development of attention-based analysis of human expressive behavior and the implementation of real-time algorithm in EyesWeb XMI in order to improve naturalness of human-computer interaction and context-based monitoring of human behavior. To this aim, perceptual-model that mimic human attentional processes was developed for expressivity analysis and modeled by entropy. Museum scenarios were selected as an ecological test-bed to elaborate three experiments that focus on visitor profiling and visitors flow regulation

The Herbert Virtual Museum

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

The Descriptive Challenges of Fiber Art

published or submitted for publicatio

Affective Terrains: Art, War, and National Belonging

This paper examines how cultural representations affirm national belonging within the context of Canada’s involvement in the War on Terror. To do this, it takes as its central case study an exhibition of official war art, 11 Artists for 11/11 (2012), which was mounted on public display in celebration of Remembrance Day. This paper approaches the exhibition and the works included in it by addressing their representative and non-representative (or affective) qualities, in order to think through the ways in which visual narratives of military history participate in shaping sentimental attachments to Canadian identity and being Canadian

VR Technologies in Cultural Heritage

This open access book constitutes the refereed proceedings of the First International Conference on VR Technologies in Cultural Heritage, VRTCH 2018, held in Brasov, Romania in May 2018. The 13 revised full papers along with the 5 short papers presented were carefully reviewed and selected from 21 submissions. The papers of this volume are organized in topical sections on data acquisition and modelling, visualization methods / audio, sensors and actuators, data management, restoration and digitization, cultural tourism

VR Technologies in Cultural Heritage

This open access book constitutes the refereed proceedings of the First International Conference on VR Technologies in Cultural Heritage, VRTCH 2018, held in Brasov, Romania in May 2018. The 13 revised full papers along with the 5 short papers presented were carefully reviewed and selected from 21 submissions. The papers of this volume are organized in topical sections on data acquisition and modelling, visualization methods / audio, sensors and actuators, data management, restoration and digitization, cultural tourism

Visual content analysis of visitors’ engagement with an instagrammable exhibition

This study aims to show how a museum exhibition designed to encourage visitors to take pictures can affect visitors’ behavior. We analyzed visitors’ engagement with the Yumi's Cell Special Exhibition (hereafter Yumi) held in South Korea, employing computer vision for the analysis of visitors’ Instagram pictures. Our research questions are: What types of pictures do visitors post on Instagram during or after their visit? And can Yumi’s instagrammable features make visitors interact more with the exhibition? We also formulated two corresponding hypotheses: Visitors are primarily interested in taking selfies in the instagrammable environment; and visitors struck more active poses when taking pictures in an instagrammable exhibition than in a traditional art exhibition. Through the image analysis of Instagram posts of the exhibition, we found many pictures of people, but the proportion of selfies was relatively limited. This suggests that visitors were more interested in interacting with the exhibition rather than taking selfies. This has also been confirmed by the pose analysis, which showed that the participatory feature of the exhibition encouraged visitors to take photos in active poses, interacting, mimicking, and performing. The framework presented and the findings offer insights about how to design exhibitions to increase visitors’ participation

Designing ‘Critical’ Heritage Experiences: Immersion, Enchantment and Autonomy

This article investigates the critical potential of newly emerging approaches to heritage experience design. Moving away from a familiar critique of heritage experiences as inauthentic or overly commercial, I consider three aspects of the experiential that might (re)shape critical engagements with the past in the present. Building on the work of Kidd (2018), the first engages with the growing trend for ‘immersive’ experiences in museums and heritage sites. The second draws on Perry’s notion of archaeological ‘enchantment’ (2019) as a new ‘moral model’ for the field. The third applies Bishop’s (2012) reading of artistic ‘autonomy’ to specially designed heritage experiences. These concepts are then explored in relation to Critical Heritage Studies and tested against four micro case studies that engage in different ways with the experience of heritage. The theorisation put forward here serves as a point of departure for the two-year research project New Trajectories in Curatorial Experience Design (Feb 19–Jan 21), which aims to document and analyse emerging trends in experiential design within the heritage sector. In particular, this position paper highlights specific points of intervention where new forms of critical-creative practice might open up heritage interpretation to alternative experiential strategies and outcomes