'Breaking the glass': preserving social history in virtual environments

New media technologies play an important role in the evolution of our society. Traditional museums and heritage sites have evolved from the ‘cabinets of curiosity’ that focused mainly on the authority of the voice organising content, to the places that offer interactivity as a means to experience historical and cultural events of the past. They attempt to break down the division between visitors and historical artefacts, employing modern technologies that allow the audience to perceive a range of perspectives of the historical event. In this paper, we discuss virtual reconstruction and interactive storytelling techniques as a research methodology and educational and presentation practices for cultural heritage sites. We present the Narrating the Past project as a case study, in order to illustrate recent changes in the preservation of social history and guided tourist trails that aim to make the visitor’s experience more than just an architectural walk through

Teaching Cultural Heritage using Mobile Augmented Reality

open2noThe relationship between augmented reality, mobile learning, gamification and non-formal education methods provide a great potential. The AR-CIMUVE Augmented Reality for the Walled Cities of the Veneto is an original project in collaboration with Italia Nostra and other associations which deal with transmitting our cultural heritage and which teach primary and middle school children the cultural and historical importance of the Veneto’s and the surrounding territories’ walled cities. In this learning experience students will explore how our environment has developed across the ages using the mobile devices with the technical back-up of the AR App. This will allow them to see maps, examine data, 3D models and will enable them to judge and improve their skills. From a pedagogical and educational point of view the emphasis is on a constructivist social-cultural approach which helps students to become active citizens more aware of their historical identity.openPetrucco, Corrado; Agostini, DanielePetrucco, Corrado; Agostini, Daniel

Bletchley Park text: using mobile and semantic web technologies to support the post-visit use of online museum resources

A number of technologies have been developed to support the museum visitor, with the aim of making their visit more educationally rewarding and/or entertaining. Examples include PDA-based personalized tour guides and virtual reality representations of cultural objects or scenes. Rather than supporting the actual visit, we decided to employ technology to support the post-visitor, that is, encourage follow-up activities among recent visitors to a museum. This allowed us to use the technology in a way that would not detract from the existing curated experience and allow the museum to provide access to additional heritage resources that cannot be presented during the physical visit. Within our application, called Bletchley Park Text, visitors express their interests by sending text (SMS) messages containing suggested keywords using their own mobile phone. The semantic description of the archive of resources is then used to retrieve and organize a collection of content into a personalized web site for use when they get home. Organization of the collection occurs both bottom-up from the semantic description of each item in the collection, and also top-down according to a formal representation of the overall museum story. In designing the interface we aimed to support exploration across the content archive rather than just the search and retrieval of specific resources. The service was developed for the Bletchley Park museum and has since been launched for use by all visitors

Location based modelling for Heritage Mobile Applications

Recent strategies for increasing museum income have heightened the need to motivate visits. Consequently, ICT has been increasingly used in historical locations to educate and entertain visitors. This exploratory study concerns one such museum that is developing its understanding of these technologies through the perspective of visitors as the key stakeholder. It views the significance of historical landscapes’ technologies that reflect the views of visitors. A quantitative study is conducted to explore preferred technologies and the way in which digital media can be presented in a natural environment, as well as how visitors prefer such experiences to be described. To define and assess the technologies in Dorset County Museum and Maiden Castle, data was collected using a survey in both locations. The results identified differences in visitors’ perceptions regarding the importance of technologies in these museum and physical locations. The outcomes of this study can be applied to improve the effectiveness of technology in interlinked heritage landscapes through development of mobile or web prototypes

A Village Comes to Life: The Interpretation of Henry Ford\u27s Greenfield Village

Of all American living history sites, Greenfield Village, in Dearborn, Michigan, is one of the most interesting. Founded by Henry Ford and opened in 1929, Greenfield Village consists of 90 acres of nearly 100 historic buildings, all moved to the site from around the country and reassembled in a vague village formation. Unlike Colonial Williamsburg, the site is not historically significant and represents no one geographic location or time period. While in keeping with Ford’s vision of celebrating small-town life and the humble origins of many great thinkers and innovators, this structure has presented challenges for both the staff and the public to settle on a particular interpretive theme. When combined with the more universal criticisms regarding training, equipment, and messaging, these challenges make Greenfield Village a veritable microcosm of the strengths and weaknesses of living history interpretation. The history of interpretive programming at Greenfield Village demonstrates that weaknesses commonly criticized by academic historians are not inherent in living history programming. In fact, well-educated and trained park staffers saw living history as the solution to these problems and to finally find a way to unify Greenfield Village’s unique structure under a cohesive and effective interpretive theme. The 1982 implementation of the Edison/Saltbox project was a direct response to the most current scholarship on museum education and represented a continued dialogue with other open-air history museums. More recent attempts to improve the interpretation of African American history at Greenfield Village echo similar strategies at Colonial Williamsburg and respond directly to calls within the academy to address the prevalence of nostalgia in presentations of the past. While Greenfield Village’s programming continues to face the funding and staffing problems that plague living history programs nationwide, its story should remind scholars that nostalgia and antiquarianism are not problems inherent to living history

Personalization in cultural heritage: the road travelled and the one ahead

Over the last 20 years, cultural heritage has been a favored domain for personalization research. For years, researchers have experimented with the cutting edge technology of the day; now, with the convergence of internet and wireless technology, and the increasing adoption of the Web as a platform for the publication of information, the visitor is able to exploit cultural heritage material before, during and after the visit, having different goals and requirements in each phase. However, cultural heritage sites have a huge amount of information to present, which must be filtered and personalized in order to enable the individual user to easily access it. Personalization of cultural heritage information requires a system that is able to model the user (e.g., interest, knowledge and other personal characteristics), as well as contextual aspects, select the most appropriate content, and deliver it in the most suitable way. It should be noted that achieving this result is extremely challenging in the case of first-time users, such as tourists who visit a cultural heritage site for the first time (and maybe the only time in their life). In addition, as tourism is a social activity, adapting to the individual is not enough because groups and communities have to be modeled and supported as well, taking into account their mutual interests, previous mutual experience, and requirements. How to model and represent the user(s) and the context of the visit and how to reason with regard to the information that is available are the challenges faced by researchers in personalization of cultural heritage. Notwithstanding the effort invested so far, a definite solution is far from being reached, mainly because new technology and new aspects of personalization are constantly being introduced. This article surveys the research in this area. Starting from the earlier systems, which presented cultural heritage information in kiosks, it summarizes the evolution of personalization techniques in museum web sites, virtual collections and mobile guides, until recent extension of cultural heritage toward the semantic and social web. The paper concludes with current challenges and points out areas where future research is needed

Developing serious games for cultural heritage: a state-of-the-art review

Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result, the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented

Serious Games in Cultural Heritage

Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented

Using ICT to support public and private community memories: case studies and lessons learned

Information communication technologies (ICTs) enable the development of memories across a variety of communities. We identify a spectrum of deployment from private through to open public spaces. As we move along this spectrum key variables change including mechanisms of trust and accountability and the definition of ownership, authorship and readership. Some challenges however, remain constant such as designing for sustainability and the need to align research and community goals. Private spaces can be created to enhance existing interactions, develop bonding capital and build shared memory. Such spaces allow a defined membership the opportunity to explore new ideas away from the public gaze, using language which may not be intelligible to outsiders. ICTs may be used to bridge internal and external audiences, repurposing content for a wider public. The original content may require alternative presentation, organisation or navigation methods to support its effective use by an external audience. Increasingly, community memories are being developed using social software within the public sphere, however this raises issues of authority, reputation management, and conflict resolution. Unexpected innovation may occur, and issues of sustainability must be addressed. In our analysis we will draw on three ICT initiatives in which we have participated: Bletchley Park Guides’ Forum, Bletchley Park Text and Milton Keynes Open Guide

Learning Film Magic from the Professionals: The Film Studio as a Tourist Destination

The phenomenon of film tourism is about as old as the movies themselves. Many consumers have been inspired by their favourite films to travel either to the locations they have seen on screen or to the locations where they have been filmed. Nevertheless, Connell (2012) argues that the film tourism literature is still in its early stages and lacks a decent understanding of how film tourists perceive, experience and relate to tourist destinations in general. And this is particularly true for the film studio as a tourist destination. Drawing on the author’s own film tourist experiences, observations and participatory interactions with fellow visitors at a major Hollywood film studio, this paper takes a photographic essay approach to explore from an autoethnographic ‘I’m-the-camera’-perspective to explore how consumers experience and engage with the magical world of film and filmmaking that film studios present to them in their guided studio tours. The study finds that the ‘authentic’ nature of the film studio tour appeals in particular to amateur filmmakers, who seek informative insights into the film business and to share their knowledge and experiences with other like-minded amateurs and professionals