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With the ever-advancing availability of digitized museum artifacts, the question of how to make the vast collection of exhibits accessible and explorable beyond what museums traditionally offer via their websites and exposed databases has recently gained increased attention. This research work introduces the Invisible Museum: a user-centric platfor...
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... Under the framework of Chinese heritage tourism, existing studies broadly classify visitor experiences into two primary types: (1) conventional heritage tourism (R. Zhang, 2020) and (2) digitally integrated tourism (Liu, 2020). Conventional approaches, centered on static displays, physical artifacts, and guided tours, prioritize the preservation and education of cultural values while effectively conveying historical narratives (Jamal & Hill, 2013;Zidianakis et al., 2021). However, these methods often fail to meet the interactivity and personalization demands of modern tourists, limiting their engagement and emotional resonance (Egger et al., 2020). ...
... Key research gaps persist. First, digital authenticity remains underexplored, with studies focusing on objective and existential authenticity (Zidianakis et al., 2021) but overlooking tourists' subjective perceptions (Kim et al., 2020). Second, the interactivity-satisfaction link lacks clarity; while interactivity enhances satisfaction (H. ...
This study investigates the impact of digital transformation on visitor satisfaction, engagement, and recommendation intentions at World Heritage Sites in Chinese coastal cities. A survey-based quantitative research design was employed, collecting data from four hundred and two respondents across eight cities using systematic random sampling. structural equation modeling (SEM) was applied to analyze relationships among digital participation, perceived authenticity, visitor satisfaction, and recommendation behaviors. Results highlight that technologies such as VR and AR enhance satisfaction, engagement, and authenticity, driving recommendation behaviors. Extending Cultural Authenticity Theory and satisfaction–loyalty frameworks, the study emphasizes the dynamic interplay of digital tools and cultural narratives. Practical recommendations focus on implementing culturally sensitive, interactive digital strategies to strengthen heritage tourism’s sustainability. Future research is encouraged to explore emerging technologies like AI and the metaverse.
... Moreover, they are an indispensable tool for sharing knowledge with craft recipients (Lasala et al., 2019;Sung & Chin, 2023;Kim, 2023;Vartiainen & Tedre, 2023). Their usage is not only related to contemporary crafts but is also connected to the preservation and cultivation of the cultural heritage of past generations (Bekele et al., 2018;Sylaiou et al., 2020;Zidianakis et al., 2021;Hauser et al., 2022), including micro-heritage (Nadbałtyckie Centrum Kultury Gdańska, 2022). ...
The research aims to learn the opinions of students enrolled in first- and second-cycle vocational schools in the Opole province (Poland) regarding the utilisation of new technologies in the field of craftsmanship. It covered a number of key issues, including job changes, improvements related to the production and management processes in craft enterprises, activities that accelerate the adoption of new technologies in crafts, and their relationship with sustainable development and building the resilience of craft communities and economies. New technologies in crafts are perceived and applied with a focus on either production or management processes, aiming to either increase profits or promote sustainability and align with either environmental or economic responsibility within the context of sustainable development. During the study, content analysis, linear classification model with L2 regularisation, and verification of the strength of mutual influence using the Spearman rank correlation coefficient were performed. The findings indicate that traditional skills associated with craftsmanship are being transmitted to younger generations, who are growing up in a rapidly evolving technological, social, and economic environment. The application of modern technologies is a crucial factor in the development of crafts and the enhancement of in the market. Vocational education in Poland is in need of reform, and the implementation of modern tools is essential for more effective preparation for the workforce. These technologies facilitate the advancement of production and competitiveness, yet their utilisation must align with the tenets of ecological responsibility.
... VR allows visitors to experience various visual elements and simulations, enabling new ways of communicating and understanding information [12,13]. VR exhibits have also been proven to enhance learning by providing greater immersion and interactivity than traditional exhibition methods [14,15]. ...
... This is important, as an immersive experience makes an exhibit more interesting to the audience. Exhibitions utilizing VR technology have been proven to provide greater immersion and interactivity than traditional exhibition methods, thereby enhancing both learning and entertainment experiences [10,13,14]. ...
This study systematically analyzes and emphasizes the importance of VR exhibition experiences, a relatively under-researched area. It examines the effects of VR exhibition experiences on presence and interaction and the influence of interaction on presence. Additionally, how these factors impact user immersion and satisfaction is explored, and the relationship between exhibition immersion and satisfaction is analyzed. Specifically, this study investigates how virtual exhibition experiences, similar to those in physical galleries, provide a sense of reality, leading to immersion in the artwork and ultimately resulting in satisfaction. The findings reveal that, among the VR exhibition experience factors, entertainment, escapism, and aesthetic experiences positively (+) affected interaction, while educational experiences negatively (−) influenced it. Furthermore, entertainment, escapism, and educational experiences positively influenced presence, whereas aesthetic experiences did not significantly impact it. Interaction significantly affected presence and positively influenced both immersion and satisfaction. Presence positively affected immersion but did not significantly affect satisfaction. Finally, immersion positively affected satisfaction. This study suggests that strategies that enhance interaction and presence are crucial in designing VR exhibition experiences. They also provide an important foundation for future research by systematically analyzing the relationships between presence, interaction, immersion, and satisfaction in VR exhibition experiences.
... Similarly, approaching the creation of consumer immersion in the digital environment also needs to come from these three distinct perspectives. As for technology, combining VR headsets and AR apps with the locally developed 3D interactive GU embroidery ICH layout app can make the experience much more immersive (Zidianakis et al., 2021) while reducing distractions like motion sickness and the need to learn how to use them. Methodologically, this study utilises GU embroidery ICH as the focal point for interactive engagement and has developed lighting effects to augment this experience. ...
Intangible cultural heritage (ICH) is essential for promoting the sustainable development of the global economy and society. The rapid advancement of digital ICH technology and consumer hesitance underscore the necessity to examine customers’ willingness to adopt it. There is substantial research on the acceptability of digital ICH. However, various studies have yielded conflicting results regarding the impact of immersion technology on willingness to adopt it. Some studies claimed immersion technology provided users with a positive experience, while others argued it could lead to simulator sickness and distraction. This study utilised the unified theory of acceptance and use of technology (UTAUT2) and the immersion theory to develop a three-layer analytical framework. This framework examined consumer attitudes towards digital ICH from the perspectives of the target, context and process. This study evaluated the interconnections and collective impacts of factors to determine the willingness of customers to adopt digital ICH. A survey was designed, and 311 valid responses were received from individuals with prior exposure to digital ICH. The collected data was analysed using fuzzy-set qualitative comparative analysis (fsQCA) and necessary condition analysis (NCA). The study revealed important factors that strongly motivated customers to adopt digital ICH and the interaction between these factors. The research distinguished the characteristics of four distinct customer groups that are more willing to adopt digital ICH. This study provides theoretical insights and practical assistance for the safeguarding and advancement of ICH in the era of digital technology.
... This study uses the "Metaverse Online Art Museum (MOAM)" as a term, also called digital museum, virtual museum, and electronic art gallery. We define a MOAM as a non-physical space for immersive virtual display of artwork that is available via the Internet, accessible only on mobile, desktop, or VR devices, and limited to the artwork displayed in the MOAM, which has multiple functions, including artwork display, virtual tours, and online socialization [41]. Li and Lee pointed out that the metaverse is expected to reverse the relationship between art and reality, reshape the aesthetic paradigm of future art, and open up broader avenues for the development of future art forms [42]. ...
The Metaverse Online Art Museum (MOAM) represents an innovative application of metaverse technology in the art field, with an increasing number of art galleries and museums transitioning to the metaverse. In the metaverse environment, audiences can overcome geographical and economic limitations, enjoying artworks anytime and anywhere, resulting in a more unique and immersive experience. However, there is still a lack of research on audience switching intention from traditional offline art museum (TOAM) to MOAM. To fill this academic gap, our study aims to explore and validate the key factors influencing Chinese audiences’ Switching Intentions (SWI) to MOAM. Specifically, we integrated Flow Theory (FT) and Self-Determination Theory (SDT) into the Push-Pull-Mooring framework to develop a new conceptual model, elucidating the internal mechanisms of push, pull, and mooring effects on switching intentions (SWI). Through an online questionnaire, we recovered 305 valid samples from the audience that experienced MOAM and systematically analyzed the data using Partial Least Squares Equation (PLS-SEM). The results of the study showed that eight of the ten hypotheses were valid and that two push factors (visiting inconvenience and dissatisfaction), five pull factors (concentrated attention, perceived enjoyment, presence, autonomy, and competence), and one mooring factor (visiting inertia) had a significant effect on SWI. But, Perceived risk and Relatedness did not significantly influence switching MOAM. The findings of this study not only contribute valuable theoretical insights for metaverse and MOAM, but also provide important insights for relevant service providers in optimizing audience experience and improving switching rate at the practical level. Additionally, it gives direction and reference to the government and enterprises in formulating specific policies and management measures. It also helps to promote the sustainable development of the metaverse art ecology.
... Furthermore, a user-focused platform was introduced by [18] for developing virtual 3D exhibitions with VR capabilities. The goal was to make a wide array of exhibits easily accessible and explorable beyond the limitations of traditional museums. ...
Gallery art websites are often used to display artistic work for user accessibility. The conventional web-based gallery is built on the hyper-text Markup Language (HTML) which is limited in terms of content dynamism, interactivity, and scalability. GANs provide advanced capabilities with continuously evolving art experiences, making them a powerful tool for modern digital art galleries. Artistic websites have significantly contributed to the exhibition of artistic images since they can be accessed anywhere. However, the artistic web suffers from being too passive and lacks in-depth interactivity to keep people meaningfully engaged with an exhibition virtually. This paper explores the exhibition of 3D images within a virtual art gallery using an intelligent artistic web-based applications framework that integrates Variational Autoencoder and 3-D Signed Distance Function Cycle GAN (VAE-3DSDFCycleGAN) and quantitative questionnaire methods. The virtual gallery utilises GAN architectures to produce diverse and original 3D artworks, addressing traditional art galleries' spatial, viewing dimensions, image quality, and accessibility limitations. The questionnaire was used to evaluate the user’s satisfaction. The experiment was done on the Coco African Mask dataset to generate 3-D images, yielding a high result and satisfaction in terms of the ease of use and viewing of the artistic image contents.
... Three-dimensional visualization has become a common tool for the representation of cultural heritage objects in museum settings (Luther, Baloian, Biella, & Sacher, 2023), to create interactive, web based virtual museums (Carvajal, Morita, & Bilmes, 2020;Sillaurren & Aguirrezabal, 2012;Zidianakis et al., 2021), to generate 'digital twins' (Qian et al., 2022) for heritage interpretation (Dezen-Kempter, Mezencio, Miranda, De Sãi, & Dias, 2020) , but also specifically to create visualizations in case of destruction during natural disasters or armed conflict (Hou, Lai, Wu, & Wang, 2024;Shabani et al., 2022;Vuoto, Funari, & Lourenço, 2023, as well as gaming environments representing historic settings (Champion, 2016;Ishar, Zlatanova, & Roberts, 2022;Kargas, Loumos, & Varoutas, 2019). These 3D models may be static but are more commonly animated. ...
While three-dimensional visualization has become a common tool in various cultural heritage applications, the emphasis has been on high fidelity representation, essentially the generation of digital twins or digital reconstructions. Overlooked appears to be the utility of 3D in research collaboration where one of the researchers has access to the original, potentially fragile object while the others are based in remote locations. This paper describes the application of a low-cost, mobile and swiftly executable 3D scanning process and discusses the benefits of this for remote collaboration of three-dimensional objects of material culture
... Similarly, another study focuses on building a chatbot for healthcare using NLP, providing patients with 24/7 assistance for scheduling appointments, getting medical advice, and more [11]. By leveraging NLP techniques, the chatbot can make natural communication with users via text or voice interactions, offering personalized support based on a patient's medical history and treatment recommendations [28][29]. ...
... The framework included various capabilities in terms of content types support (text, images, audio, video, and 3D models), as well as an object parametrization to identify the main construction elements (e.g., walls, floors, roofs) useful for the creation of the digital environment. Zidianakis et al. proposed Invisible Museum [48], a web application that aimed to democratize the creation of virtual exhibitions by providing an accessible tool named Exhibition Designer. The platform stood out for its flexibility, offering a range of ready-to-use templates, customizable floorplans, and comprehensive tools for adjusting spatial elements, exhibits, and lighting. ...
In recent years, the digitization of Cultural Heritage (CH) has gained momentum, with Historical Building Information Modeling (HBIM) playing a vital role in developing services that enhance the understanding of built heritage. However, current HBIM-to-VR workflows, crucial for Virtual Heritage Experiences (VHEs), often rely on proprietary tools that may limit interoperability. To address this issue, some studies have used the Industry Foundation Classes (IFC) file format which, unfortunately, lacks functionalities for VHE creation, complicating the process for non-IT users. This paper introduces a semi-automated HBIM-to-VR workflow using an enriched IFC file. The process includes a manual phase for preparing the IFC file with metadata and a subsequent automated phase where a VR platform generates a virtual visit. A use case involving the “Hall of Seasons” in Palazzo Carignano, Turin, demonstrates the workflow’s potential to improve accessibility and scalability in creating VHEs.
... O artigo de Zidianakis et al. [10], por sua vez, trata do desenvolvimento de uma plataforma centrada no usuário para a criação de exposições virtuais 3D com suporte para VR. O estudo apresenta a plataforma "Invisible Museum", que permite a criação colaborativa de exposições interativas e imersivas através de tecnologias 3D baseadas na web e realidade virtual. ...
Este artigo apresenta o desenvolvimento e a implementação de uma ferramenta digital para a criação de tours virtuais, aplicada ao Museu do Ipiranga, em São Paulo. A solução proposta utiliza tecnologias opensource como JavaScript, Node.js e A-frame.js para oferecer uma experiência imersiva e interativa através de uma interface intuitiva. A ferramenta permite a inserção de imagens 360º, configuração de hotspots, e integração de faixas de áudio, proporcionando uma navegação dinâmica pelos ambientes do museu. Além disso, incorpora funcionalidades de comunicação em tempo real através do Networked A-frame, promovendo interações sociais entre os visitantes durante o tour virtual. A implementação visa democratizar o acesso ao acervo do museu, superando barreiras físicas e ampliando a preservação digital do patrimônio cultural. A metodologia desenvolvida pode ser replicada para outros museus e instituições culturais, contribuindo para a inovação e ampliação do impacto da digitalização do patrimônio cultural.
