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Edgar Dale's Cone of Experience shows that after two weeks we mainly remember information coming from what we have told or done (active participation), rather than those ones coming from what we have read, listened to or looked at. Audio-visual stimuli together, but with passive engagement, are in the middle of the cone. Image source: http://www.edutechie.ws/2007/10/09/cone-of-experience-media/, Author Jeffrey Anderson.
Source publication
Experience design, both in real and in virtual museums, is very complex to be planned, even more when digital contents are juxtaposed to real collections. Researchers in this field, curators, creatives and software developers must work together in order to evolve towards a more efficient interconnection among visitors, collections and digital appli...
Contexts in source publication
Context 1
... American educator Edgar Dale ) [7] summed up the results of his studies in the "Cone of Experience" schema ( Figure 1). It shows that the quality of information we store does not depend only on the threshold of our attention, but also on the channel we activate to receive it. ...
Context 2
... use of "natural interaction" strongly influences both the level of embodiment in the virtual space, and therefore the perceptive impact that the user gets, both the interface design, the way of structuring and hierarchizing contents, of choosing and selecting them (the input is not as precise and fast as the mouse click), of manipulating objects. The experience is configured as a progression of bodily as well as mental acts (Figure 10). This condition affects the narrative language itself, the duration of the various expressive units: everything must be usable, coherent and harmonious. ...
Context 3
... use of "natural interaction" strongly influences both the level of embodiment in the virtual space, and therefore the perceptive impact that the user gets, both the interface design, the way of structuring and hierarchizing contents, of choosing and selecting them (the input is not as precise and fast as the mouse click), of manipulating objects. The experience is configured as a progression of bodily as well as mental acts (Figure 10). This condition affects the narrative language itself, the duration of the various expressive units: everything must be usable, coherent and harmonious. ...
Context 4
... some years it has become possible to include real actors in interactive 3D environments, in place of 3D characters, thanks to virtual set and chroma-key techniques, managed by common editing software and real time graphic engines. This fact immediately influences the visual grammar: recitation, feeling expression, framing techniques, photography, combination of camera angles, camera movements are adopted from theatre or cinema and adapted for the context of virtual reality, thus resulting something new and "metaphysical" (Figure 11). ...
Context 5
... are usually associated to specific performing techniques or camera movements and parameters (different angles, field of view, depth of field). (Figure 11). The representation of realistic personages through virtual characters can be more complex to realize (3D modeling, rigging, animations, behaviors) in comparison to real actors. ...
Context 6
... site specific installation is an original example of media hybridization, conceived with the double purpose of explaining the masterpiece and to create a new live art (Figure 12 (Figure 12). ...
Context 7
... site specific installation is an original example of media hybridization, conceived with the double purpose of explaining the masterpiece and to create a new live art (Figure 12 (Figure 12). ...
Context 8
... graphic appearance can be characterized with a different style, for instance by a dominant color, or rendered in wireframe. Even metadata can be associated to them and queried about the interpretative sources that have been used, to let the user access specific information about the interpretative process followed ( Figure 13) [44]. ...
Context 9
... third mode, defined "Projector-based AR/Spatial AR", allows to superimpose virtual contents directly on the real world, projecting them on volumes (usually architectures, facades, objects), without the use of viewers that come between the user and the physical world. Virtual contents such as lights, images or videos are projected and overlapped to real surfaces by means of projection mapping techniques (Figure 14). From a cognitive perspective, MR is very useful to help the user to perceive and decode the space while walking through it, to identify its elements, relationships and meanings. ...
Similar publications
Virtual heritage has been explained as virtual reality applied to cultural heritage, but this definition only scratches the surface of the fascinating applications, tools and challenges of this fast-changing interdisciplinary field. This book provides an accessible but concise edited coverage of the main topics, tools and issues in virtual heritage...
Citations
... PBCS melibatkan siswa secara aktif untuk memecahkan suatu permasalahan terkait sistem respirasi. Berdasarkan teori pengalaman Edgar Dale, media yang mampu memberikan kesempatan siswa untuk melakukan simulasi atau melakukan sesuatu yang nyata akan menghasilkan tingkat ingatan siswa terhadap materi sebesar 90% [24]. Sejalan dengan hal tersebut, dengan penggunaan puzzle dalam pembelajaran biologi siswa dapat memperoleh pengetahuan baru dan melatih kemampuan serta rasa percaya diri mereka dalam menyelesaikan puzzle [25]. ...
Media pembelajaran yang telah dikembangkan perlu disebarluaskan dengan melakukan pelatihan penggunaan media kepada para guru untuk menunjang proses pembelajaran Biologi dan memfasilitasi materi yang dianggap sulit oleh siswa. Tujuan dari kegiatan pelatihan ini adalah untuk memperkenalkan media pembelajaran berbasis permainan, yaitu Puzzle Base Case Study (PBCS) kepada peserta pelatihan melalui kegiatan Musyawarah Guru Mata Pelajaran (MGMP) Biologi Kota Malang. Metode yang digunakan dalam kegiatan pelatihan ini adalah: (1) tahap perencanaan (2) tahap persiapan (3) tahap pelaksanaan, dan (3) tahap evaluasi. Kegiatan pelatihan berlangsung di Laboratorium Biologi SMA Negeri 10 Malang pada tanggal 18 Mei 2024 dengan peserta 27 guru Biologi. Hasil kegiatan pelatihan yang dilakukan telah mendapatkan respon yang positif dari seluruh peserta pelatihan, baik dari segi keterlaksanaan kegiatan dan produk media pembelajaran. Diharapkan melalui kegiatan pelatihani ini, guru dapat mengembangkan media pembelajaran serupa agar siswa memiliki pengalaman belajar yang interaktif dan menyenangkan yang dengan demikian dapat membantu siswa dalam memahami materi yang diajarkan.
... Literature [9] investigated museum visitors' experiences of digital technology services and concluded that digital media technologies play a positive role in promoting museum culture as well as historical storytelling. It also explored the factors influencing the choice of narrative structure and style of digital technology. ...
With the rapid development of digital technology, the digital system based on the fuzzy kano model provides a digital strategy for new media art exhibition museum information dissemination, digital display, and other fields. In this paper, the fuzzy Kano model is used to design the digital museum, and the system design starts from the five elements of user experience. The digital system is designed from the levels of the strategy layer, scope layer, structural layer, framework layer, and performance layer, respectively. Clustering the sensors first is used to obtain the functional area in the classification of audience behavior. The optimal clustering results can be achieved through spectral clustering of sensor graphs. Clustering is proposed using the typical movement pattern extraction algorithm. Optimization indexes are set to achieve optimal typical movement patterns. The auxiliary sensors capture the interactive movements of the audience with the artwork and collect logical information. Behavioral pattern templates for various types of viewers are constructed using viewer attribute labels. In the user classification method based on behavioral patterns, edges in the graph are used as features, and an optimization problem is constructed to solve the importance of each feature for audience classification. The implementation of interactive features greatly enhances the interactive experience of the audience. It makes the audience’s novelty evaluation score of the system reach 8.671. The classification algorithm based on the behavioral model performs well in all evaluation indexes, which indicates that the system proposed in this paper meets the audience’s digital and interactive needs for new media art exhibitions.
... Literature [14] points out that as the desirability of a digitized museum culture continues to grow, the question of how to make large numbers of exhibits accessible and explorable beyond what museums have traditionally provided through websites and publicly available databases has recently attracted increasing attention. Literature [15] mentions that the design of experiences in museums, whether real or virtual, is generally quite complex, and even more so when digital content is juxtaposed with real collections. Researchers, creatives, and software developers in this industry, among others, must work together to achieve more effective interconnections between visitors, collections, and digital applications. ...
The spatial characteristics and structure of the exhibition display design are summarized through the analysis of the topological relationship of the exhibition display spatial structure, and the RCTG algorithm in IBM technology is applied to extract the above-described exhibition spatial topological relationship. Based on the actual situation of the exhibition design, the structural space constraint relationship is determined, and at the same time, the model API provided by the BIM platform is called to construct the component model based on the topological constraint relationship. Aiming at the problems of large differences in lighting distribution and large differences in color in the process of exhibition display design, we optimize such problems through visual element processing operations and realize visual element configuration from three aspects: color, picture, and white space. A case study of the exhibition designed in this paper is conducted by setting the model parameters. The results present that in the simulation analysis of scene combination optimization when, the entry rate grows to 18vis./min, at this time, the user’s overall exhibition viewing satisfaction reaches the peak, and the optimal limit number of people is 46. In addition, in the lighting analysis of the side interface + top interface of the exhibition, 30% high side windows + 25% decentralized strip skylights (B1+F1) have the highest values of each lighting, the proportion of area with a lighting coefficient of >2% (99.497%), the proportion of area with an illuminance of 400lux (91.571), the average lighting coefficient (7.046), and the uniformity of lighting (0.192). This study verifies the practical feasibility of research on exhibition display design based on topology optimization through experimental analysis.
... The digital story enables the adaptation of the content to various public profiles in a dynamic and immersive way, and the public can experience the story from the first-person perspective or by taking into account the presence of a storyteller (Pavlik, 2018) or even the presence of an interactive guiding tour. To increase the feeling of being there, the following are also important: the harmony of the texts, the reciting style, the ambient music, the rhythm to make the transition from the past to the present in the case of all museum tours and the awakening of the feeling of nostalgia/emotion (Pietroni, 2019). Moreover, the branching storytelling notion completes the characteristics of immersion used for narrative by the fact that the user has autonomy in the immersive experience. ...
The impact of recent digital technologies increased in the context of the mobility restrictions during the COVID-19 pandemic. The aim of this paper is to identify the immersive elements present in virtual tours, based on a testbed tool intended for the identification of those factors that increase the immersion of a virtual product. The selection of the factors was based on a thorough review of the scientific literature and the use of storytelling. The 125 virtual tours analysed highlighted: a certain degree of immersion in the virtual products; digital content promoting real destinations and the constraining factors of immersive experiences.
... As platform complementors, cultural institutions therefore add to the intricacy and potential contention of platform governance, as different internal groups -curators, educators, marketing, and digital teams -may have competing internal priorities and interpret the intended use of the platform in entirely different manners. It is also for this reason that case studies of museum digital initiatives consistently emphasized the importance of communication and collaboration between different internal functional groups within the organization (Cachia, 2014;Petrelli et al., 2016;Pietroni, 2019). ...
This dissertation examines the intersection of cultural institutions and digital platforms, using Google Arts & Culture (GA&C) as a case study of platformization in the cultural sector. Theoretically, it situates GA&C within the intellectual and institutional lineage of the virtual museum, frames the platform as a networked memory institution with risks of digital enclosure and privatization, and unpacks its sociotechnical power through its various governance mechanisms. This study addresses three primary research questions: How did the platform evolve from the original Google Art Project into the current iteration of GA&C? How do the platform’s curatorial interventions and interface design shape content presentation? How do cultural institutions use the platform? A mixed-methods approach is adopted, including archival analysis of the platform’s website, mobile app, and outreach emails, content analysis of a highly curated section of the platform, visual analysis of the platform’s interface architecture, and semi-structured interviews with partner institutions. Key findings reveal a history of convergence among different cultural institutions on the platform but also a divergence from facilitating cultural institutions to engaging audiences through playful experience. The GA&C team plays an essential curatorial and editorial role in deciding project topics and managing featured content, while the platform’s interface prescribes a passive mode of user engagement that falls short of the promises of a truly participatory culture. While cultural institutions hoped for an aggregate portal with technological support from Google to expand their digital presence, the alignment between the platform and the partners, often a response to the partner’s internal digital strategy or external factors such as the global pandemic, ended up being contingent and experimental due to various issues on both sides. Finally, this dissertation also discusses the implications of GA&C for the participatory culture, the editorial role of digital platforms, and the datafication of arts and culture.
... The challenge shifts from establishing rapid and accurate 3D survey methods [7] to designing heritage enhancement solutions built on experiences and interactions that engage the public. Experience design is the most complex part of technological and multimedia enhancement, as many aspects must be considered, and choices must be made with an awareness that quality design may not be suitable for all contexts and user targets [8]. ...
This contribution focuses on e-Archeo 3D: an application that visualises virtual archaeological reconstructions. It is an interactive browser-based application implemented on the open-source ATON platform. This application enables the visualisation of archaeological sites through 360° panoramas that can be explored and populated with multimedia content (audio, pictures, videos, and 3D models). Users can switch between the current archaeological context and the reconstruction hypothesis at each viewpoint while a voice (or text) narrates the main archaeological and historical information. Some parts of the panoramas pulsate with a yellow colour and give access to in-depth multimedia content. An additional visualisation level allows users to learn about the reliability of the reconstructions and the sources and interpretative processes on which they are based.
... In the field of research, academic disciplines concerned with various aspects of human society and culture will face opportunities presented by digital tools and methods that can lead to transformative and innovative research [7][8][9]. In the field of exhibition displays, AI-generated content, and efficient and fast machine algorithmic push can more accurately design exhibition content and exhibits to improve the attractiveness of exhibitions and the visitor experience [10][11][12]. Artificial intelligence technology has both advantages and disadvantages and in the actual application process, it is necessary to take into account the many conveniences and benefits of artificial intelligence technology to the digital construction of museums but also to balance the relationship between the application of technology and human needs [13][14]. ...
The explosive development of artificial intelligence technology greatly promotes the intelligent construction of museums and strengthens their cultural inheritance role. This paper takes artificial intelligence technology as its guide, analyzes the advantages of AI technology in the intelligent museum, and establishes the specific structure of an intelligent museum by combining VR technology. Wisdom Museum can realize the effective repair and presentation of cultural relics data. This paper uses three-dimensional laser scanning technology to obtain cultural relics point cloud data, repair the holes in the point cloud data through RBF, optimize the point cloud data by combining texture mapping, and input the optimized data into the GC-GAN model to realize the three-dimensional digital repair of cultural relics images. Moreover, the smart museum’s intelligent interaction system is built by combining virtual reality technology and related equipment. Taking Dunhuang mural point cloud data as an example, the number of point clouds of the RBF hole repair algorithm differs from the original data by only 5.86%, and the SSIM and PSNR values on the repaired portraits are 0.83 and 26.36 dB, respectively. The SUS total score for the user on the intelligent interactive system is 73.875, and the UEQ factor scores are averaged out at 1-3 points. The creation of a smart museum can be realized using AI technology, providing users with an immersive cultural relics viewing experience and activating the vitality of all kinds of cultural relics in the museum.
... Generally speaking, although nowadays visitors are willing to enter museums on their own initiative, the monotonous contents and the limited visual effect of fieldbased displays can only satisfy their low-level needs. It is insufficient to motivate visitors to form intrinsic spiritual impetus, resulting in a one-sided interpretation of culture, and making it difficult for visitors to form enduring cultural memories, therefore they are not interested in reentering museums (Pietroni, 2019). It is obvious that the crux of the problem is ''how to make the historical events that in visitors' memories to be vivid and perceivable.'' ...
... This is not a kind of one-way empathy, but two-way interaction, including both the visitors' cognitive experience of the environment and the impact of the environment on the visitors' emotions, forming a two-way emotional communication and understanding. Further exploring the cooperative relationship and influence mechanism between visitors' cognitive and affective empathy, while their implicit experience under the condition of rendering of contextual elements is of great significance to the development of museums (Pietroni, 2019). ...
With the development of modern technologies, museums have been engaged in the competition for novel sensory resources. Taking into consideration the main body of visitors, their experiential representation has gradually become the focal point of the museums. However, at present, the museum display is limited to visual effect. The scientific and technological methods proposed by existing research have not really formed a deep cultural memory of historical stories, and the sustainable development paths of museums need to be further optimized. Thus, the purpose of this study is to explore the conception and path of museum auditory experience development, and to verify the existing patterns of empathy in museum auditory experience development. We set up digital music vocalization tools in the museum to temporarily create the immersion experience for digital music. In this scenario, we could meticulously observe the tourists’ experience, with the joint effect of active cognitive environment and environment-driven emotion. We also conducted a timely survey on the cognition, emotion, and experience of the observation subjects after the experiment. Last, empirical methods has been used to analyze the role of immersive empathy in enhancing visitors’ experience, in order to gain insights into visitors’ perception and cognition of the museum, integrating with the digital music. After analyzing the collected data, this study found that cognitive empathy has a significant positive impact on visitors’ experience. It indicated that for the historical stories presentation, the properly integration of museum and digital can help tourists deeply understand the historical events, which could restore the cultural connotation conveyed by the designer. Emotional empathy also has a significant positive impact on visitors’ experience. It showed that that the rendering of digital music will motivate visitors’ emotional fluctuation, during their visit to the museum. And through the combination of audio-visual effects, the constructed spatial perception, allowing visitors to enjoy immersive experience. This study proposed a vision for the development of auditory experiences in museums, based on both cognitively active immersion and emotionally passive immersion of visitors. We also suggested that in the new era, museums need to reform with voice, to timely adjust and innovate their way to exhibit cultural relics, with the hierarchical design of audiovisual integration to construct a more appealing scene and atmosphere.
... Moreover, our study shed light on the transformative potential of digital technologies in enhancing museum visits, and the results are aligned with previous scholarly findings. The value of digital technologies, both educational and entertaining, is evident in bolstering visitor engagement, stimulating motivation and creating an entertaining learning environment (Kiili et al., 2012;Mamur et al., 2020;Pietroni, 2019). The concept of narrative engagement in exploring how storytelling and narrative elements can be effectively integrated into immersive experiences has been studied (Leow and Ch'ng, 2021). ...
... Holographic projections were another popular suggestion, likely inspired by recent media showcases of this technology. Studies by Caggianese et al. (2018) and Pietroni (2019) indicate that holographic projections can attract visitors' attention, bridge the gap between virtual and authentic artefacts and display the original context of objects. The museum could consider employing holographic projections to showcase the original environments of ethnic minority communities in the exhibition. ...
Purpose
This article examines curatorial practices, both traditional and digital, in the Guizhou Provincial Museum’s ethnic exhibition to assess their effectiveness in representing ethnic minority cultures, fostering learning and inspiring curiosity about ethnic textiles and costumes and associated cultures. It also explores audience expectations concerning digital technology use in future exhibitions.
Design/methodology/approach
A mixed-methods approach was employed, where visitor data were collected through questionnaires, together with interviews with expert, museum professionals and ethnic minority textile practitioners. Their expertise proved instrumental in shaping the design of the study and enhancing the overall visitor experience, and thus fostering a deeper appreciation and understanding of ethnic minority cultures.
Findings
Visitors were generally satisfied with the exhibition, valuing their educational experience on ethnic textiles and cultures. There is a notable demand for more immersive digital technologies in museum exhibitions. The study underscores the importance of participatory design with stakeholders, especially ethnic minority groups, for genuine and compelling cultural representation.
Originality/value
This study delves into the potentials of digital technologies in the curation of ethnic minority textiles, particularly for enhancing education and cultural communication. Ethnic textiles and costumes provide rich sensory experience, and they carry deep cultural significance, especially during festive occasions. Our findings bridge this gap; they offer insights for museums aiming to deepen the visitor experiences and understanding of ethnic cultures through the use of digital technologies.
... Visual representations, movement [24] 8 ...
The understanding of the metaverse is currently expanding, and several interpretations and implementations may be present. The many metaverse iterations have distinct components and capabilities, which have the potential to evolve and enhance over time in tandem with technological advancements and evolving user requirements. The metaverse has emerged as a widely discussed subject of public interest, with individuals and organizations alike contemplating its potential applications. However, a prevailing misperception persists over its fundamental comprehension. The concept of the metaverse is often misconstrued as solely referring to a virtual world; nevertheless, it encompasses more than simply a virtual realm. Three other categories can be classified as constituting the metaverse. The metaverse encompasses four distinct categories, each characterized by unique aspects that may or must diverge from one another. The elements play a crucial role in the development of any metaverse kind. This work aims to provide a valuable contribution by offering a comprehensive analysis of the constituent features of various metaverse types. Its purpose is to assist anyone interested in studying or implementing a certain metaverse type by fostering a deeper understanding of its core aspects.
