Leave blank (2009/2010)

Leave blank (2009/2010

Lessons learned from supplementing archaeological museum exhibitions with virtual reality

Archaeological excavations provide us with important clues about the past. Excavated artefacts represent an important connection to civilisations that no longer exist and help us understand some of their customs, traditions and common practices. With the help of academics and practitioners from various disciplines the results of archaeological excavations can be analysed and a body of knowledge about the corresponding society can be created and shared with members of the general public. Museums have traditionally served the purpose of communicating this knowledge and backing it up with the help of the excavated artefacts. Many museum visitors, however, find it difficult to develop a coherent understanding of the corresponding society only based on the artefacts and annotations showed in museums. Effective modern techniques that have high potential in helping museum visitors with better understanding of the past are 3D reconstruction and Virtual Reality. 3D reconstruction offers a cost effective way of recreating historical settlements in a computer-generated virtual environment, while Virtual Reality helps with immersing people into such environments and reaching a high degree of realism. With the help of these technologies it becomes possible to relive history, imagine yourself being a part of the reconstructed society and learn about its culture firsthand. The combination of 3D reconstruction and Virtual Reality \anton{represents} a very powerful learning tool, however this tool has been rarely used in a museum setting and its correct use has not been properly investigated. In this paper we present a study into using Virtual Reality in itinerant archaeological exhibitions. We discuss the lessons we have learned from developing an interactive Virtual Reality simulation of the Neolithic settlement of La Draga. These lessons feature our analysis of qualitative and quantitative feedback of museum visitors, as well as what we have learned from analysing their navigation and interaction patterns

Mike Kelley and Surrealism: monkeys, frogs, dogs and Mauss

This paper reads the 1980s and 1990s soft toy and sock-monkey installations of multimedia artist Mike Kelley in relation to surrealism. Using Hal Foster’s comments on abject art - of which Kelley is often considered an exponent - I consider the extent to which Kelley’s work desublimates and makes available as ‘affect’ some of the structures of feeling, and structuring feelings, of the capitalist lifeworld. I compare Kelley’s work to its surrealist antecedents and judge the political efficacy of that avant-garde against his postmodern practice. While this essay uses writers like Freud and Marx, alongside Breton, Bataille and Kelley himself, it is Marcel Mauss’s well-known theory of the gift that takes centre stage in reckoning the social and political significance of Kelley and his use of surrealist discourse

TOBE: Tangible Out-of-Body Experience

We propose a toolkit for creating Tangible Out-of-Body Experiences: exposing the inner states of users using physiological signals such as heart rate or brain activity. Tobe can take the form of a tangible avatar displaying live physiological readings to reflect on ourselves and others. Such a toolkit could be used by researchers and designers to create a multitude of potential tangible applications, including (but not limited to) educational tools about Science Technologies Engineering and Mathematics (STEM) and cognitive science, medical applications or entertainment and social experiences with one or several users or Tobes involved. Through a co-design approach, we investigated how everyday people picture their physiology and we validated the acceptability of Tobe in a scientific museum. We also give a practical example where two users relax together, with insights on how Tobe helped them to synchronize their signals and share a moment

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