Designing mobile augmented reality art applications:addressing the views of the galleries and the artists

The utilization of mobile augmented reality to display gallery artworks or museum content in novel ways is a well-established concept in the augmented reality research community. However, the focus of these systems is generally technologically driven or only addresses the end user and not the views of the gallery or the original artist. In this paper we discuss the design and development of the mobile application ?Taking the Artwork Home?, which allows people to digitally curate their own augmented reality art exhibitions in their own homes by digitally ?replacing? the pictures they have on their walls with content from the Peter Scott Gallery in Lancaster. In particular, we present the insights gained from a research through design methodology that allowed us to consider how the views of the gallery and artists impacted on the system design and therefore the user experience. Thus the final artifact is the result of an iterative evaluation process with over 100 users representing a broad range of demographics and continues to be evaluated/enhanced by observing its operation ?in the wild?. Further, we consider the effect the project has had on gallery practices to enable both augmented reality designers, and galleries and museums to maximize the potential application of the technology when working together on such project

Interoperability between Multimedia Collections for Content and Metadata-Based Searching

Artiste is a European project developing a cross-collection search system for art galleries and museums. It combines image content retrieval with text based retrieval and uses RDF mappings in order to integrate diverse databases. The test sites of the Louvre, Victoria and Albert Museum, Uffizi Gallery and National Gallery London provide their own database schema for existing metadata, avoiding the need for migration to a common schema. The system will accept a query based on one museum’s fields and convert them, through an RDF mapping into a form suitable for querying the other collections. The nature of some of the image processing algorithms means that the system can be slow for some computations, so the system is session-based to allow the user to return to the results later. The system has been built within a J2EE/EJB framework, using the Jboss Enterprise Application Server

Metadata enrichment for digital heritage: users as co-creators

This paper espouses the concept of metadata enrichment through an expert and user-focused approach to metadata creation and management. To this end, it is argued the Web 2.0 paradigm enables users to be proactive metadata creators. As Shirky (2008, p.47) argues Web 2.0’s social tools enable “action by loosely structured groups, operating without managerial direction and outside the profit motive”. Lagoze (2010, p. 37) advises, “the participatory nature of Web 2.0 should not be dismissed as just a popular phenomenon [or fad]”. Carletti (2016) proposes a participatory digital cultural heritage approach where Web 2.0 approaches such as crowdsourcing can be sued to enrich digital cultural objects. It is argued that “heritage crowdsourcing, community-centred projects or other forms of public participation”. On the other hand, the new collaborative approaches of Web 2.0 neither negate nor replace contemporary standards-based metadata approaches. Hence, this paper proposes a mixed metadata approach where user created metadata augments expert-created metadata and vice versa. The metadata creation process no longer remains to be the sole prerogative of the metadata expert. The Web 2.0 collaborative environment would now allow users to participate in both adding and re-using metadata. The case of expert-created (standards-based, top-down) and user-generated metadata (socially-constructed, bottom-up) approach to metadata are complementary rather than mutually-exclusive. The two approaches are often mistakenly considered as dichotomies, albeit incorrectly (Gruber, 2007; Wright, 2007) . This paper espouses the importance of enriching digital information objects with descriptions pertaining the about-ness of information objects. Such richness and diversity of description, it is argued, could chiefly be achieved by involving users in the metadata creation process. This paper presents the importance of the paradigm of metadata enriching and metadata filtering for the cultural heritage domain. Metadata enriching states that a priori metadata that is instantiated and granularly structured by metadata experts is continually enriched through socially-constructed (post-hoc) metadata, whereby users are pro-actively engaged in co-creating metadata. The principle also states that metadata that is enriched is also contextually and semantically linked and openly accessible. In addition, metadata filtering states that metadata resulting from implementing the principle of enriching should be displayed for users in line with their needs and convenience. In both enriching and filtering, users should be considered as prosumers, resulting in what is called collective metadata intelligence

Writing with Pictures: Immersive Technology and 21st Century Professional Development

In The Language of New Media, Lev Manovich asks, “What kind of space is virtual space?” (254). This seemingly simple question will pose a number of challenges for writing centers as they develop services that transcend physical space. As writing center administrators integrate new media and technology into their operations, they must continue to invent and articulate theory that informs the development of virtual spaces. In Heuretics, Gregory Ulmer poses a related question: “What will research be like in an electronic apparatus?” (32). Ulmer explains that the notion of spatiality has changed since the development and widespread adoption of the computer (Heuretics 36). Indeed, it has, and the cultural and political landscape of the university has changed as well, as educational technology and virtual spaces are often at the heart of many academic institutions.University Writing Cente

Updating the art history curriculum: incorporating virtual and augmented reality technologies to improve interactivity and engagement

Master's Project (M.Ed.) University of Alaska Fairbanks, 2017This project investigates how the art history curricula in higher education can borrow from and incorporate emerging technologies currently being used in art museums. Many art museums are using augmented reality and virtual reality technologies to transform their visitors' experiences into experiences that are interactive and engaging. Art museums have historically offered static visitor experiences, which have been mirrored in the study of art. This project explores the current state of the art history classroom in higher education, which is historically a teacher-centered learning environment and the learning effects of that environment. The project then looks at how art museums are creating visitor-centered learning environments; specifically looking at how they are using reality technologies (virtual and augmented) to transition into digitally interactive learning environments that support various learning theories. Lastly, the project examines the learning benefits of such tools to see what could (and should) be implemented into the art history curricula at the higher education level and provides a sample section of a curriculum demonstrating what that implementation could look like. Art and art history are a crucial part of our culture and being able to successfully engage with it and learn from it enables the spread of our culture through digital means and of digital culture

Exhibitions as sub-brands: an exploratory study

The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand

Aesthetics, Video Art and Television

The author reviews two symposia: \u27The Video Arts: Demonstration and Discussion\u27, The American Society for Aesthetics, New York City, 28 Oct. 1978, and \u27The Aestheticians Look at Television\u27, National Association of Education Broadcasters, Washington, D.C., 30 Oct. 1978. He also presents an evaluation of the current state of video art in terms of philosophical aesthetics. Furthermore, he attempts to make a clear distinction between television and video art. The differences cited include corporate studio efforts vs efforts of individual artists, commercial vs artistic purpose and the substantial differences between production methods. Other issues considered are style, intimacy and narcissism

Trendswatch 2013: Back to the Future

TrendsWatch 2013 highlights six trends that CFM's staff and advisors believe are highly significant to museums and their communities, based on our scanning and analysis over the past year. For each trend, we provide a brief summary, list examples of how the trend is playing out in the world, comment on the trend's significance to society and to museums specifically, and suggest ways that museums might respond. We also provide links to additional readings. TrendsWatch provides valuable background and context for your museum's planning and implementation