Empowering cultural heritage professionals with tools for authoring and deploying personalised visitor experiences

This paper presents an authoring environment, which supports cultural heritage professionals in the process of creating and deploying a wide range of different personalised interactive experiences that combine the physical (objects, collection and spaces) and the digital (multimedia content). It is based on a novel flexible formalism that represents the content and the context as independent from one another and allows recombining them in multiple ways thus generating many different interactions from the same elements. The authoring environment was developed in a co-design process with heritage stakeholders and addresses the composition of the content, the definition of the personalisation, and the deployment on a physical configuration of bespoke devices. To simplify the editing while maintaining a powerful representation, the complex creation process is deconstructed into a limited number of elements and phases, including aspects to control personalisation both in content and in interaction. The user interface also includes examples of installations for inspiration and as a means for learning what is possible and how to do it. Throughout the paper, installations in public exhibitions are used to illustrate our points and what our authoring environment can produce. The expressiveness of the formalism and the variety of interactive experiences that could be created was assessed via a range of laboratory tests, while a user-centred evaluation with over 40 cultural heritage professionals assessed whether they feel confident in directly controlling personalisation

Empowering cultural heritage professionals with tools for authoring and deploying personalised visitor experiences

open2siThis paper presents an authoring environment, which supports cultural heritage professionals in the process of creating and deploying a wide range of different personalised interactive experiences that combine the physical (objects, collection and spaces) and the digital (multimedia content). It is based on a novel flexible formalism that represents the content and the context as independent from one another and allows recombining them in multiple ways thus generating many different interactions from the same elements. The authoring environment was developed in a co-design process with heritage stakeholders and addresses the composition of the content, the definition of the personalisation, and the deployment on a physical configuration of bespoke devices. To simplify the editing while maintaining a powerful representation, the complex creation process is deconstructed into a limited number of elements and phases, including aspects to control personalisation both in content and in interaction. The user interface also includes examples of installations for inspiration and as a means for learning what is possible and how to do it. Throughout the paper, installations in public exhibitions are used to illustrate our points and what our authoring environment can produce. The expressiveness of the formalism and the variety of interactive experiences that could be created was assessed via a range of laboratory tests, while a user-centred evaluation with over 40 cultural heritage professionals assessed whether they feel confident in directly controlling personalisation.openNot, Elena; Petrelli, DanielaNot, Elena; Petrelli, Daniel

Using narration networks to model distributed tangible systems for cultural heritage sites

The goal of the EU meSch project is bringing back the physical experience to cultural heritage sites using tangible interactive systems connecting the experience on site with digital information in novel ways. To realize this, many distributed sensors, presentation devices and tangible objects are needed that are able to work together to create the overall experience for the visitor. Furthermore, the system should support authoring done by curators through creating digital narratives as well as online exploration of personal visits to discover more information. These requirements draw the needs for a common software architecture for on-site systems that supports fast creation of detached prototypes as well as embedded use in a bigger software life cycle. As a challenge for integration the distributed devices might use different platforms and communication technology. They must be easily maintainable and there must be a fixed set of interfaces for integration within a larger environment, getting predefined digital narratives as input and outputing a log of the visitor's interactions. This work should give an outline of the requirements and the integration of the in-place system with the whole meSch server architecture. It focuses on using narration networks to model the interaction and facilitating these networks as an exchange format between the authoring environment and the in-place system. It provides sample prototype implementations for distributed tangible systems in cultural heritage sites controlled by predefined narration networks and evaluates their use for the meSch project

My boy builds coffins. Future memories of your loved ones

The research is focus on the concept of storytelling associated with product design, trying to investigate new ways of designing and a possible future scenario related to the concept of death. MY BOY BUILDS COFFINS is a gravestone made using a combination of cremation’s ashes and resin. It is composed by a series of holes in which the user can stitch a text, in order to remember the loved one. The stitching need of a particular yarn produced in Switzerland using some parts of human body. Project also provides another version which uses LED lights instead of the yarn. The LEDs - thanks to an inductive coupling - will light when It will be posed in the hole. The gravestone can be placed where you want, as if it would create a little altar staff at home. In this way, there is a real connection between the user and the dearly departed

Toward a more accessible cultural heritage. Experiences, methodologies and tools.

L'abstract è presente nell'allegato / the abstract is in the attachmen

Data Visualization Collection. How graphical representation can inspect and communicate sustainability through systemic design.

Big data are totally changing the business rules, the society, as well as the perception of ourself. The need of a big data oriented culture is becoming essential for everything that has an informative asset. Furthermore, technological innovation offers products and features unique that can help to convey values and meanings, for the purpose of communication based on increasingly strong interaction between people. In a world where everything is consumed in a short time, it is important to turn information as visual as possible, making simple what is complex. The visualization becomes a medium for increasing cognitive perception of the beholder, easing reasoning and storing of the information represented, showing patterns and relationships, known or not, maybe not easily visible without the aid of a visual representation of information

Interactive Experience Design: Integrated and Tangible Storytelling with Maritime Museum Artefacts

Museums play the role of intermediary between cultural heritage and visitors, and are often described as places and environments for education and enjoyment. The European Union also encourages innovative uses of museums to support education through the cultural heritage resources. However, the importance of visitors’ active role in museums as places for education and entertainment, on the one hand, and the growing and indispensable presence of technology in the cultural heritage domain, on the other hand, provided the initial ideas to develop the research. This thesis, presents the study and design for an interactive storytelling installation for a maritime museum. The installation is designed to integrate different museum artefacts into the storytelling system to enrich the visitors experience through tangible storytelling. The project was conducted in collaboration with another PhD student, Luca Ciotoli. His contribution was mainly focused on the narrative and storytelling features of the research, while my contribution was focused on the interaction- and technology-related features, including the design and implementation of the prototype. The research is deployed using a four-phase iterative approach. The first phase of the research, Study, deals with literature review and different studies to identify the requirements. The second phase, Design, determines the broad outlines of the project i.e., an interactive storytelling installation. The design phase includes interaction and museum experience design. We investigated different design approaches, e.g., interaction and museum experience design, to develop a conceptual design. The third phase, prototype, allows us to determine how to fulfill the tasks and meet the requirements that are established for the research. Prototyping involves content creation, storyboarding, integrating augmented artefacts into the storytelling system. Th final phase, test, refers to the evaluations that are conducted during the aforementioned phases e.g., formative and the final usability testing with users. The outcome of the research confirms previous results in the literature about how digital narratives can be enriched with the tangible dimension, moreover it shows how this dimension can enable to communicate stories and knowledge of the past that are complex, such as the art of navigating in the past, by integrating tangible objects that play different roles in the storytelling process

The MUSETECH Companion : Navigating the Matrix

The MUSETECH model was originally published in the JOCCH Special Issue “The Evaluation of Digital Heritage Resources”, under the title: “The MUSETECH model: AC omprehensive Evaluation Framework for Museum Technology.” https://doi.org/10.1145/3297717 The original publication is accompanied by the present document, “The Companion”. The “Companion” provides step - by - step guidance to the MUSETECH model, devised as a tool for planning the evaluation of technologies applied in museums and heritage settings . We use the term “museum technology” to refer to any type of online or onsite interactive, application or installation encountered in museums or other heritage institutions. The MUSETECH model offers an exhaustive list of 121 Evaluation Criteria that may guide the evaluation of various embodiments of museum technology