Usability evaluation of a virtual museum interface

The Augmented Representation of Cultural Objects (ARCO) system provides software and interface tools to museum curators to develop virtual museum exhibitions, as well as a virtual environment for museum visitors over the World Wide Web or in informative kiosks. The main purpose of the system is to offer an enhanced educative and entertaining experience to virtual museum visitors. In order to assess the usability of the system, two approaches have been employed: a questionnaire based survey and a Cognitive Walkthrough session. Both approaches employed expert evaluators, such as domain experts and usability experts. The result of this study shows a fair performance of the followed approach, as regards the consumed time, financial and other resources, as a great deal of usability problems has been uncovered and many aspects of the system have been investigated. The knowledge gathered aims at creating a conceptual framework for diagnose usability problems in systems in the area of Virtual Cultural Heritage

Changeable Context of the New Technology Artefact and the Changeable Research Outcomes

Computer Aided Drawing (vector based) and painting (raster based) packages, allow the mock-up of designs in virtual space. Whilst this is beneficial for visualising the end product, both methods of drawing have been applied to new and existing machining technologies so that some aspect of the product is derived from a computer file. Today, the applied artist now has an abundance of CAD/CAM (Computer Aided Drawing / Computer Aided Manufacturing) technologies awaiting them. So much so, that in the past fifteen years, many makers have embarked upon practice-led research to find out what a particular technology can do with regard to their design interests. Within such research, the object is the manifestation of what has been discovered through the research activity. This paper considers the relationship between the content of the research object and the context for the object’s reception. This is examined with regard to the author’s research with new technologies for the applied arts. Examples will highlight how the characteristics of artefacts that arise from the research can help determine who the audience for the work is, and how the technology might be used by different kinds of craft practitioners. References will also be made to the work of other designer-makers working with and researching similar technologies. Evidence from practical examples will also be supported by a more theoretical discussion. The implications of supplying, or not supplying, background information for an audience within a variety of settings on the perceived content/context of the object, and the communication of the research, will also be discussed. It is concluded that when developing new processes, keeping the work open to a number of audiences can maximise the outcomes and increase the chances of the process being integrated within practice. The discussion also highlights a trend of positioning the consumer/viewer at the forefront of the research, and a need to evaluate their experiences

Maintaining authenticity: transferring patina from the real world to the digital to retain narrative value

This research is concerned with utilizing new technologies to harvest existing narrative, symbolic and emotive value for use in a digital environment enabling "emotional durability" (Chapman, 2005) in future design. The projects discussed in this paper have been conducted as part of PhD research by Rosemary Wallin into 'Technology for Sustainable Luxury' at University of the Arts London, and visual effects technology research undertaken by Florian Stephens at University of West London. Jonathan Chapman describes vast consumer waste being "symptomatic of failed relationships" between consumers and the goods they buy, and suggests approaches for designing love, dependency, and even cherishability into products to give them a longer lifespan. 'Failed relationships' might also be observed in the transference of physical objects to their virtual cousins. Consider the throwaway nature of digital photography when compared to the carefully preserved prints in a family album. Apple often use a skeuomorphic (Hobbs, 2012) approach to user interface design, to digitally replicate the patina and 'value' of real objects. However, true transference of physical form and texture presumably occurs when an object is scanned and a virtual 3D model is created. This paper presents three practice-based approaches to storing and transferring patina from an original object, utilizing high resolution scanning, photogrammetry, mobile applications and 3D print technologies. The objective is not merely accuracy, but evocation of the emotive data connecting the digital and physical realm. As the human face holds experience in the lines and wrinkles of the skin, so the surface of an object holds its narrative. From the signs of the craftsman to the bumps and scratches that accumulate over the life of an item over time and generations, marks gather like evidence to be read by a familiar or a trained eye. According to the time and the culture these marks are read within, they will either add to or detract from its value. These marks can be captured via complex 3D modelling and scanning technologies, which allow detailed forms to be recreated as dense 3D wireframe, but the result is often unsatisfying. 3D greyscale surfaces can never fully capture the richness of patina. Authentic surfaces require other qualities such as colour, texture and depth, but there is something else - more difficult to define. Donald A. Norman expands on the idea of emotion and objects by describing three 'levels’ of design "visceral, behavioural and reflective". Visceral is based on "look, feel and sound", behavioural is focused on an object’s use, and reflective is concerned with its message. New technology is commonly seen in terms of its ability to increase efficiency, but this research has longer-term objectives: to repair or even rebuild Chapman's 'broken relationships' and enable ‘emotionally durable' design. The PhD that has formed the context for this paper examines the concept of luxury value, and how and why the value of patina has been replaced by fashion. Luxury goods are aspirational items often emulated in the bulk of mass production. If we are to alter behaviour around consumption, one approach might be to use technology to harvest patina as a way to retain emotional, symbolic and poetic value with a view to maintaining a relationship with the things we buy

Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms

Art museums implicate established spatial and social norms. The norms that shape these behaviours are not fixed, but rather subject to change as the sociality and physicality of these spaces continues to develop. In recent years, the re-emergence of virtual reality (VR) has led to this technology being incorporated into art museums in the form of VR-based exhibits. While a growing body of research now explores the various applications, uses and effects of VR, there is a notable dearth of studies examining the impact VR might be having on the spatial and social experience of art museums. This article, therefore, reports on an original research project designed to address these concerns. The project was conducted at Anise Gallery in London, United Kingdom, between June and July 2018 and focused on the multisensory, and VR-based, exhibition, Scents of Shad Thames. The research involved 19 semi-structured interviews with participants who had just experienced this exhibition. Drawing on scholarly literature that surrounds the spatial and social norms pertaining to art museums, this study advances along three lines. First, the research explores whether the inclusion of VR might alter the practice of people watching, which is endemic of this setting. Second, the research explores whether established ways of navigating the physical setting of art museums might influence how users approach the digital space of VR. Third, the research examines whether the incorporation of VR might produce a qualitatively different experience of the art museum as a shared social space

New Media Art/ New Funding Models

Investigates the current state of funding for new media artists, with an emphasis on the support structures for innovative creative work that utilizes advanced technologies as the main vehicle for artistic practice

Digital places: location-based digital practices in higher education using Bluetooth Beacons

The physical campus is a shared space that enables staff and students, industry and the public, to collaborate in the acquisition, construction and consolidation of knowledge. However, its position as the primary place for learning is being challenged by blended modes of study that range from learning experiences from fully online to more traditional campus-based approaches. Bluetooth beacons offer the potential to combine the strengths of both the digital world and the traditional university campus by augmenting physical spaces to enhance learning opportunities, and the student experience more generally. This simple technology offers new possibilities to extend and enrich opportunities for learning by exploiting the near-ubiquitous nature of personal technology. This paper provides a high-level overview of Bluetooth beacon technology, along with an indication of some of the ways in which it is developing, and ways that it could be used to support learning in higher education

A new navigation paradigm for virtual reality: the guided visit through a virtual world

The three main navigation paradigms for virtual worlds, i.e., free navigation, automatic tours, and multiuser navigation show important limitations when dealing with guided visits that involve interactive cooperation among several users in 3D virtual worlds over the Internet. In this paper, we present our research into this issue and some important results. We propose a new navigation paradigm denominated guided visit through a virtual world, where the capacity of a user guiding several remote users through the virtual world is enriched with the capacity to dynamically interchange the role of guiding between the connected users. The user that acts as a guide moves freely through the virtual world, and his/her movements are reproduced by the browsers of the other guided users. We also present the architecture and the system we developed that implements this paradigm, as well as its integration in a working realworld application that demonstrates its use

Review of practice-led research in art, design & architecture

This review report sets out the outcomes of a 10 month investigation to describe the landscape of practice-led research in Art, Design and Architecture (ADA) in the UK and beyond. We were asked for a qualitative review but of course it has been important to gather some numbers to check and illustrate our observations. We have consulted widely, both face to face and in the virtual world, with experts and novices in the UK and around the world. We have tried to strike a balance between the natural desire of our colleagues to debate the more contentious aspects of this territory (they were never going to forgo that opportunity) and the equally strong wish of the AHRC that we should provide a clear description of what is happening. We have collected some diverse examples of research and subjected them to various examinations. We have also examined a selection of research projects funded by AHRC and other projects by creative practitioners, funded by a non-research organisation. From all this we have been able to describe the landscape in a straightforward sense: We have measures of the proportions of ADA academics involved in practice-led research. We have clarified differences in the ways that the different ADA disciplines engage with practice-led research and identified some problems that indicate possible future support strategies. We have discussed some problems with general definitions of research and identified issues that should be addressed to ensure that the AHRC definition can be applied to the full range of practice-led research. We have picked out some specific case examples that illustrate the range of contexts, methods and contributions made by practice-led researchers, and more are described in detail in Appendix F. We have also sought to assess how this research relates to the wider international picture in which the UK appears to have a strong position in both volume and development of research. We have also set out some issues that affect this community of researchers: What strengths and weaknesses have we observed and where is there a need to support development? Do the AHRC definition of research and guidance on practice-led research provide an effective framework? We have illustrated the state of development of research in ADA, and some reasons why it is less robust than might be expected from such long established disciplines. We recommend that the career path of researchers in ADA needs some attention and make some suggestions about how that could be achieved. We have also indicated some areas of inquiry that might be supported to advance the theory and methods of practice-led research. In particular we have come to the conclusion that conventional ideas of contribution to knowledge or understanding may not be serving us well. This is significant to fine artists but we believe that it relevant across ADA and a shared effort to develop appropriate new models would be a constructive development. The full set of recommendations can be found in chapter 5

The Lincoln Magna Carta: marketing a document that changed the world

From the field of Runnymede in 1215, to later English parliamentary struggles, across the seas to a fledgling American democracy, then onwards in time to all parts of the globe where it encourages human rights and helps shapes legal systems, the Magna Carta has transformed the world. Now there are only four copies remaining of the original manuscript, one of which is owned by Lincoln Cathedral of the UK. This paper provides a critical account of the marketing of the Magna Carta to three target groups of the 21st century. These are the schools market, the general visitor market to Lincoln Castle, where the document is on display and the American market, which sees the Magna Carta when it is on tour. This paper identifies a number of marketing problems, arguing that a failure to implement an effective overall strategy has led to missed customer opportunities. This is a problem compounded by one of brand identity, where political, historical and religious discourses are allowed to converge onto the marketing of the Magna Carta in an undisciplined way, resulting in positioning difficulties. Finally, recommendations are made regarding the implementation of a more strategic approach to marketing the Great Charta