VIRTUAL MUSEUM EXPERIENCES OF PRE-SERVICE SOCIAL STUDIES TEACHERS IN THE PROCESS OF FORMING AESTHETIC VALUES: PERA MUSEUM EXAMPLE.

This study aims to determine the perceptions of pre-service social studies teachers about aesthetic values ​​after visiting a virtual museum. The research was planned according to phenomenology, one of the qualitative research designs. The data of the research was collected through interviews. The descriptive analysis technique was used to analyze the data obtained from the research. According to the results of the research, regarding Pera virtual museum experience, the pre-service teachers pointed their opinions as its usability in the lessons, the feeling as if they were there. The elements that attracted their attention during virtual museum visit, mostly the artwork named “The Tortoise Trainer”, explanations and videos next to the paintings. The pre-service teachers stated their aesthetic values​​ gained through the virtual museum visit as mostly beauty, and then harmony, balance, delicacy, elegance, mystery, perfection, seriousness, majesty, aesthetics, perception of change and continuity, observation, respect, sensitivity, understanding, protecting and sustaining cultural values, pleasure, happiness. They expressed the effects of virtual museum visits on aesthetic values ​​as mostly gaining a more positive attitude towards aesthetic values, followed by raising awareness, artworks should be evaluated from an aesthetic point of view, seeing the artworks in the museum from a multi-faceted perspective

The Role of Game in Promoting Museum Education Communication

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Interactive Rakuchu Rakugai-zu (Views in and Around Kyoto)

This book constitutes the refereed proceedings of the First International Conference on Culture and Computing, C&C 2020, held as part of the 22nd International Conference on Human-Computer Interaction, HCII 2020, in July 2020. The conference was planned to be held in Copenhagen, Denmark, but had to change to a virtual conference mode due to the COVID-19 pandemic.Rakuchu Rakugai-zu is a screen painting illustrating in and around Kyoto created from the beginning of 16th century until 17th century. As in the Funaki Version of Rakuchu Rakugai-zu everyday lives of over 2, 000 people in Kyoto are vividly painted, the painting is a good material to learn their customs in early 17th century in Kyoto. However, it is difficult to understand the details of the painting, if background information is not provided. How to document such information and how to provide people such information would be crucial for the future of museums. To cope with this, we are carrying out a project to develop the interactive Rakuchu Rakugai-zu, Funaki Version. Firstly, we digitize the painting with ultra-high resolution. Secondly, using historical books regarding the customs of that era., we identify clothes and behaviors of each person in the painting and linked them to the person in the painting. Thirdly, we develop the technology to provide such information interactively using text or voice. Fourthly, we develop present Funaki Version including various manga characters so that we can compare old and present customs of people. Integrating these contents and technologies we are now developing the interactive Rakuchu Rakugai-zu, Funaki Version

The development of an accessibility indicator framework for analyzing online exhibitions: a pathway for social inclusion in museums' activities

[EN] Social inequalities brought up by welfare, racial, and geographic oppressions often determine whether a person has the possibility and the motivation to visit museums. Accessibility barriers also add another layer of distance between museums and people with disabilities. Although many museums have shown an effort to provide an accessible physical space, communicational and attitudinal aspects of access are less present – a concerning issue, especially when considering online activities. In face of the sanitary insecurity brought upon by the Covid-19 pandemic, online museums and exhibitions add up to the possibilities of creating and maintaining different audiences. Therefore, we must establish methods and tools to provide an accessible online museum space so that people from different backgrounds, including those with disabilities, may experience a barrier-free remote visit. In this context, our primary goal in this presentation is to introduce the process of developing the analytical tool “Accessibility Indicators for Online Exhibitions and Museums”, with a specific focus on the particularities of online museums and discuss its usability as a theoretical and practical framework. The instrument was adapted from the international guidelines, the Web Content Accessibility Guidelines (WCAG 2.1), and information gathered in the literature about accessibility in online environments and in museums. The work of Inacio (2017), with further development by Norberto Rocha et al. (2020, 2021), led to the publication of accessibility indicators and their application to investigate physical museums and the experience of visitors with disabilities. Although we identify common aspects of accessibility in physical and online museums, we understand that the specificities of online exhibitions need to be covered. The accessibility indicators for online exhibitions’ structure is composed of three indicators, each with two attributes. The first, “Design and navigability”, with the “Comfort, security and navigation flexibility” and “Access, manipulation and presentation flexibility” attributes, concerns the structure of the platform of the online exhibition and the action of scrolling through. The second, “Attitudinal”, with the “Inclusive practices, welcome and hosting” and “Institutional policy” attributes, concerns the efforts taken by the institution to include both visitors and professionals with disabilities. The third, “Communicational”, with the “Communication, and dissemination to a broad audience” and “Media and diverse resources to a plural communication” attributes, concerns informational and instructional aspects both internal and external to the online exhibition. Together, we believe that these indicators, as a tool, may provide a reference to the creation, update, and analysis of online exhibitions, aiming to improve museum access and education for a varied audience.[ES] Las desigualdades sociales provocadas por el bienestar, las opresiones raciales y geográficas a menudo determinan si una persona tiene la posibilidad y la motivación de visitar museos. Las barreras de accesibilidad también añaden otra capa de distancia entre los museos y las personas con discapacidad. Aunque muchos museos han mostrado un esfuerzo por proporcionar un espacio físico accesible, los aspectos comunicacionales y actitudinales del acceso están menos presentes, un tema preocupante, especialmente cuando se consideran las actividades online. Ante la inseguridad sanitaria provocada por la pandemia del Covid-19, los museos y exposiciones online se suman a las posibilidades de crear y mantener diferentes públicos. Por lo tanto, debemos establecer métodos y herramientas para proporcionar un espacio museístico online accesible para que las personas de diferentes orígenes, incluidas las personas con discapacidades, puedan experimentar una visita remota sin barreras. En este contexto, nuestro objetivo principal en esta presentación es introducir el proceso de desarrollo de la herramienta analítica "Indicadores de accesibilidad para las exposiciones y museos online", con un enfoque específico en las particularidades de los museos online y discutir su usabilidad como marco teórico y práctico. El instrumento fue adaptado de las directrices internacionales, las Directrices de Accesibilidad de Contenido Web (WCAG 2.1) y la información recopilada en la literatura sobre accesibilidad en entornos online y en museos. El trabajo de Inacio (2017), con mayor desarrollo de Norberto Rocha et al. (2020, 2021), llevó a la publicación de indicadores de accesibilidad y su aplicación para investigar los museos físicos y la experiencia de los visitantes con discapacidad. Aunque identificamos aspectos comunes de la accesibilidad en los museos físicos y online, entendemos que las especificidades de las exposiciones online deben cubrirse. La estructura de los indicadores de accesibilidad para las exposiciones online se compone de tres indicadores, cada uno con dos atributos. El primero, "Diseño y navegabilidad", con los atributos "Comodidad, seguridad y flexibilidad de navegación" y "Flexibilidad de acceso, manipulación y presentación", se refiere a la estructura de la plataforma de la exposición online y la acción de desplazarse. El segundo, "Actitudinal", con los atributos "Prácticas inclusivas, recepción y acogida" y "Política institucional", se refiere a los esfuerzos realizados por la institución para incluir tanto a los visitantes como a los profesionales con discapacidad. El tercero, "Comunicacional", con los atributos "Comunicación y difusión a un público amplio" y "Medios de comunicación y recursos diversos para una comunicación plural", se refiere a aspectos informativos e instructivos tanto internos como externos a la exposición en línea. Juntos, creemos que estos indicadores, como herramienta, pueden proporcionar una referencia a la creación, actualización y análisis de exposiciones online, con el objetivo de mejorar el acceso a los museos y la educación para un público variado.Letícia Marinho thanks CAPES for the master's degree grant supporting the Master’s in Communication of Science, Technology, and Health at Fundação Oswaldo Cruz. Jessica Norberto Rocha thanks FAPERJ for the Young Scientist of Rio de Janeiro grant and CNPQ for the Productivity scholarship.Carvalho De Mattos Marinho, L.; Norberto Rocha, J. (2022). El desarrollo de indicadores de accesibilidad para el análisis de exposiciones online: un camino para la inclusión social en las actividades de los museos. En CIMED22 - II Congreso internacional de museos y estrategias digitales. Editorial Universitat Politècnica de València. 209-219. https://doi.org/10.4995/CIMED22.2022.1556220921

Comparison of engagement and emotional responses of older and younger adults interacting with 3D cultural heritage artefacts on personal devices

The availability of advanced software and less expensive hardware allows museums to preserve and share artefacts digitally. As a result, museums are frequently making their collections accessible online as interactive, 3D models. This could lead to the unique situation of viewing the digital artefact before the physical artefact. Experiencing artefacts digitally outside of the museum on personal devices may affect the user's ability to emotionally connect to the artefacts. This study examines how two target populations of young adults (18–21 years) and the elderly (65 years and older) responded to seeing cultural heritage artefacts in three different modalities: augmented reality on a tablet, 3D models on a laptop, and then physical artefacts. Specifically, the time spent, enjoyment, and emotional responses were analysed. Results revealed that regardless of age, the digital modalities were enjoyable and encouraged emotional responses. Seeing the physical artefacts after the digital ones did not lessen their enjoyment or emotions felt. These findings aim to provide an insight into the effectiveness of 3D artefacts viewed on personal devices and artefacts shown outside of the museum for encouraging emotional responses from older and younger people

Authenticity through VR-Based documentation of cultural heritage : A theoretical approach based on conservation and documentation practices

The visualization of 3D reconstructed artifacts often requires significant computing resources. The implementation of an object in a virtual reality (VR) application even necessitates the reduction of the polygonal mesh. Consequently, the communication and dissemination of “authentic” 3D reconstructions via immersive VR technologies has been a nearly impossible feat for many researchers. However, is the issue really computing resources, or is it rather the notion of authenticity in an “auratic” sense, i.e., an excessive focus on physical evidence and survey data? In the present paper, we will discuss the authenticity requirements for virtual archaeology as set by the Seville Principles(2011), and we will analyse some limitations related to the current approaches. Furthermore, we will propose a pluralistic notion based on the contextualization of 3D objects in VR environments with synesthetic (i.e. multisensory) information. This new notion of authenticity relies on conservation meanings rather than physical features. In line with this approach, two case studies will be commented: the multimodal 3D-documentation of the Jupiter Column(2AD) in Ladenburg, and the VR-based re-enactment of a modern work of art, the audio-kinetic sculpture Kaleidophonic Dog(1967) by Stephan von Huene. These two projects provide valuable data for a revision of the notion of authenticity in both virtual archaeology and art conservation

Virtual reality acceptance in classrooms: A case study in teaching science

Virtual reality can be defined as “near reality” where virtual is near and reality is experience by humans. The aim of this research is to explore the benefits of VR technology in education that can engage the learning process using Virtual Reality (VR) in the classroom. Thus, the research objectives are to seek for student design and development of application, convenient, facileness and gratification of VR application in learning process. Using quantitative method, data from questionnaires and evaluations of existing Virtual Reality applications were analyzed in descriptive way to assess the viability of mobile Virtual Reality as a medium for improving learning. The developing process of an VR mobile based application is defined explicitly, and the final graphical student interface of the application is demonstrated to show overall look of the final product that is developed for this project. This includes three types of testing in this project which are performance testing, user acceptance testing and usability testing. Based on the 40 respondents results, it can be concluded that virtual reality application is a good application that can enhance and also engage students learning process in science subject as the mean value for perceived of convenient items was 3.67, followed by 3.66 for perceived of facileness items and finally mean value for perceived of gratification items was 3.61. To conclude, virtual reality application is an effective application for students’ science learning process in school especially in the 21st century teaching and learning

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

Non-Serious Serious Games

Serious games have been shown to promote behavioural change and impart skills to players, and non-serious games have proven to have numerous benefits. This paper argues that non-serious digital games played in a ‘clan’ or online community setting can lead to similar real world benefits to serious games. This paper reports the outcomes from an ethnographic study and the analysis of user generated data from an online gaming clan. The outcomes support previous research which shows that non-serious games can be a setting for improved social well-being, second language learning, and self-esteem/confidence building. In addition this paper presents the novel results that play within online game communities can impart benefits to players, such as treating a fear of public speaking. This paper ultimately argues that communities of Gamers impart ‘serious’ benefits to their members