Designing and implementing interactive and realistic augmented reality experiences

In this paper, we propose an approach for supporting the design and implementation of interactive and realistic Augmented Reality (AR). Despite the advances in AR technology, most software applications still fail to support AR experiences where virtual objects appear as merged into the real setting. To alleviate this situation, we propose to combine the use of model-based AR techniques with the advantages of current game engines to develop AR scenes in which the virtual objects collide, are occluded, project shadows and, in general, are integrated into the augmented environment more realistically. To evaluate the feasibility of the proposed approach, we extended an existing game platform named GREP to enhance it with AR capacities. The realism of the AR experiences produced with the software was assessed in an event in which more than 100 people played two AR games simultaneously.This work is supported by the project CREAx and PACE funded by the Spanish Ministry of Economy, Industry and Competitiveness (TIN2014-56534-R and TIN2016-77690-R)

Introduction to location-based mobile learning

[About the book] The report follows on from a 2-day workshop funded by the STELLAR Network of Excellence as part of their 2009 Alpine Rendez-Vous workshop series and is edited by Elizabeth Brown with a foreword from Mike Sharples. Contributors have provided examples of innovative and exciting research projects and practical applications for mobile learning in a location-sensitive setting, including the sharing of good practice and the key findings that have resulted from this work. There is also a debate about whether location-based and contextual learning results in shallower learning strategies and a section detailing the future challenges for location-based learning

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

Augmenting the field experience: a student-led comparison of techniques and technologies

In this study we report on our experiences of creating and running a student fieldtrip exercise which allowed students to compare a range of approaches to the design of technologies for augmenting landscape scenes. The main study site is around Keswick in the English Lake District, Cumbria, UK, an attractive upland environment popular with tourists and walkers. The aim of the exercise for the students was to assess the effectiveness of various forms of geographic information in augmenting real landscape scenes, as mediated through a range of techniques and technologies. These techniques were: computer-generated acetate overlays showing annotated wireframe views from certain key points; a custom-designed application running on a PDA; a mediascape running on the mScape software on a GPS-enabled mobile phone; Google Earth on a tablet PC; and a head-mounted in-field Virtual Reality system. Each group of students had all five techniques available to them, and were tasked with comparing them in the context of creating a visitor guide to the area centred on the field centre. Here we summarise their findings and reflect upon some of the broader research questions emerging from the project

Use of creative tools, technologies, processes and practices in the sectors of Art, Media, and Architecture: State-of the-Art and desired future scenarios

The aim of the paper is to analyse and present the preliminary findings of the EU FP7 funded CRe-AM project for the Art, Media, and Architecture sectors. This project bridges communities of technology providers and innovators with the creative industries, with the aim to build sector-specific dynamic roadmaps for the future of the European creative industries by examining the current state-of-the-art tools, technologies, processes, and practices supporting the creative process against the future scenarios envisioned by stakeholders in these sectors.This work was carried out as part of CRe-AM project, which is supported by European Commission (grant agreement n°612451)

An interdisciplinary design of an interactive cultural heritage visit for in-situ, mixed reality and affective experiences

Interactive technologies, such as mixed-reality and natural interactions with avatars, can enhance cultural heritage and the experience of visiting a museum. In this paper, we present the design rationale of an interactive experience for a cultural heritage place in the church of Roncesvalles at the beginning of Camino de Santiago. We followed a participatory design with a multidisciplinary team which resulted in the design of a spatial augmented reality system that employs 3D projection mapping and a conversational agent acting as the storyteller. Multiple features were identified as desirable for an interactive experience: interdisciplinary design team; in-situ; mixed reality; interactive digital storytelling; avatar; tangible objects; gestures; emotions and groups. The findings from a workshop are presented for guiding other interactive cultural heritage experiences. © 2022 by the authors.This research was funded by the R & D projects of the Government of Navarra under grant agreement No 0011-1365-2021-000063

'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