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Narrative Semantic Media for Contextual Individualization
of Ambient Learning Spaces
David Bouck-Standen, Alexander Ohlei, Thomas Winkler, Michael Herczeg
Institute for Multimedia and Interactive Systems
University of Luebeck
Luebeck, Germany
email: [bouck-standen, ohlei, winkler, herczeg]@imis.uni-luebeck.de
Abstract— Digital conservation and transformation of cultural
content and cultural property are constantly increasing. In our
research project Ambient Learning Spaces, funded for seven
years by the German Research Foundation, we developed a
user-centered scenario to individualize and personalize user
experience through the use of what we call Narrative Semantic
Media. In this context, museum exhibits installations and
objects like fossils are digitally augmented into interactive
objects for the visitors. Using the visitor’s personal mobile
devices, our solution embeds the visitor into a flexible, self-
adapting narrative structure motivating a self-directed
discovery, which creates an Ambient Learning Space inside the
museum. The applications we develop running on visitors’
mobiles connect to our web- and service-based platform, the
Network Environment for Multimedia Objects, a framework
that also collects usage and interaction statistics, which are used
to personalize the visitors’ user experience.
Keywords-Museum; Narratives; Semantic Media; informal
learning;
I. INTRODUCTION
In contemporary approaches, aspects of our cultural
property are more and more commemorated by the means of
digitalization. Today, any physical object can somehow be
transformed into digital media, such as texts, scans, pictures,
audio, video footage, or 3D objects [1][2]. These media can
be attributed and interconnected within a dynamic information
model. For such information models, semantic classification
systems for museums, already exist [3].
The transformation from physical to digital space changes
the means and expectations, by which exhibits are preserved,
augmented, interconnected, and made accessible.
Consequently, this will enrich, support and change human
perception and receptions of the exhibits. Therefore, the
individual visitors play an increasingly important role and
should be given the opportunity to critically create their own
perspective of the museum and it exhibits [4]. Thus, they
become actively and individually involved recipients.
For more than five years, the Institute for Multimedia and
Interactive Systems (IMIS) at the University of Luebeck has
been developing digitally enriched learning environments for
schools and museums in the research project Ambient
Learning Spaces (ALS) [5], supported by the German
Research Foundation (Deutsche Forschungsgemeinschaft,
DFG). In context of ALS, body- and space-related human-
computer interaction, as well as the concept of cross-device
interaction (XDI), builds the conceptual foundations. For this
purpose, a family of connected learning applications has been
developed as the frontend systems for visitors and curators.
Providing these applications, we focus on self-directed
learning with interactive media [6].
In the backend, the Network Environment for Multimedia
Objects (NEMO) is the platform for all ALS applications [7].
NEMO stores all media created by learners in a specific
semantic model, which supports the use by ALS applications
and reflects the respective applications context. The ALS
applications’ run on mobile or stationary devices and access
NEMO as a contextualized repository. Media created in
NEMO can be interrelated inside NEMO and will be
presented to the visitors as augmentations of the physical
exhibition on different interconnected digital devices like
smartphones, tablets or large stationary multi-touch screens
[6]. For the visitors, this creates an individual multi-
perspective experience of the exhibitions based on personal
dynamic narrative paths.
Narratives have always played a central role in museum
didactics. It has been first of all “stories” that, physically,
verbally, and later also technologically enhanced, guided the
visitors through the exhibits [8] on a more or less linear path.
In our project, we chose two very different museums as
project partners. As testbeds for field studies, we are working
closely together with the Günter Grass-House (GGH),
dedicated to late Nobel Prize winner Günter Grass, and the
Museum of Nature and Environment (MNU). Both museums
belong to the foundation “Die Lübecker Museen” located in
the Hanseatic City of Luebeck in Germany and require
applications, which allow a personal view of the exhibition in
a multi-perspective way [9]. Thus, any narrations may no
longer consist of the same and expected, but rather the
unexpected, alternatives, or evolutions. Museum visitors shall
be able to actively construct and deconstruct their individual
and contextualized stories through their interaction in the
physical museum space.
In our prototypical implementation, we use web-based
systems to provide museum visitors with this personal
narrative experience. In general, regarding the user interfaces,
these systems are browser-based, with device-specific
extensions. Our solution allows museum curators, as well as
other museum professionals, to construct the digital
augmentation of their physical exhibitions. Inside the
museum, visitors will use InfoGrid as one of our ALS
applications on their own mobile devices they are already
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accustomed to [10]. InfoGrid [11] augments physical objects
of the exhibition with digital media, e.g., by augmented reality
(AR) and guides visitors through the exhibition by what we
call Narrative Semantic Media (NSM). Museum visitors will
also use the InteractiveWall [6], a software system for large
multi-touch displays containing applications, e.g., displaying
media from ALS.
Our solution utilizes a concept of semantically enriching
media in a particular way. All media handled through NEMO
are modeled as NSM. NSM consists of media, such as text,
still images, audio, video footage, or 3D objects, which
NEMO stores as binary data. In NEMO, they are enriched by
semantic attributions. The semantic attributions consist of a
basic set of annotations, which are used internally by NEMO,
as well as an extended set of annotations, which are specific
for the context the media object is dedicated to. This context
is projected into the semantic model for, e.g., the GGH or
MNU, which we focus upon in more detail below. The
semantic annotations describe the content and define its place
in the semantic model. Although pedagogical and user-related
implications with regard to narrations exist, in this
contribution we focus on the technical solution.
In this contribution, in Section 2, we regard related work.
In Section 3, we illustrate our research scenario. In Section 4,
we outline the system architecture. In Section 5, we describe
the use of narrative semantic media in museums, and discuss
results from the pre-evaluation and validation in Section 6. In
Section 7, we present the conclusion and outlook.
II. RELATED WORK
With our work, we focus on dynamic individual
narratives, as well as the question of the possible influence of
technology on the self-conception and the role of museums.
Visitors entering a museum will come with substantial
knowledge with potential references from and to the museum.
However, depending on the individual, the type of museum,
the exhibition, the level of visitor’s knowledge will range from
complete novice to expert. Therefore, the most satisfying
exhibitions for visitors will be those that resonate with their
own experience and provide information in ways that confirm
and enrich their personal view of the world. Conflicting
perceptions induce personal critical reflections that may
change knowledge and opinions. Visitors want museum visits
to be inspirational and uplifting, emotionally developmental
in some way, but also to be picked up with their existing points
of view [12].
By digitally individualizing narrative structures inside the
museum, new productive relationships between the curator
and visitors may be established, especially if in the process of
individualization a visitors profile is used to automatically
provide the visitors with media potentially referring to the
visitors’ knowledge and expectations. At the same time,
however, the massive use of multimedia systems in museums
are seen critical because of the potential decrease in the role
and power of physical objects in museums [13].
With our work, we focus on using the outcome of the
process of digitalization of museum content. According to
Hyvönen [14], publishing linked Cultural Heritage collections
creates a major challenge for interoperability. With the
applications developed in ALS, we present a solution to make
use of digital media collections to extend physical exhibitions
with digital content. For museum visitors, we provide
applications, which enable visitors to interact with the
digitally augmented exhibition in an individual multi-
perspective experience. Enhancing a physical exhibition by
the means of AR has already been accomplished in various
related works. As in 2008, Miyashita et al. already presented
an AR museum guide [15], this approach is not new, but the
approach presented in this article embeds the visitors into a
flexible, self-adapting narrative structure and thereby
performs the augmentation. This also distinguishes our work
from digital story-telling, like the approaches of Vayanou et
al. [4], Antoniou et al. [16], Boy et al. [17], or van Dijk et al.
[18]. These approaches, e.g., have in common to require data
to be created or especially prepared for use in narrations.
Although certain elements of our solution have been inspired
by digital storytelling, our approach automatically generates a
narration from semantically annotated media with only
minimal annotations to the artefacts.
Using NSM through NEMO, the visitor’s experience is
individualized, making use of a knowledge management
platform architecture, as Dragoni et al. outlined [19].
Distinguishing our solution from the approach of Blumenstein
et al. [20], the visitors own mobile devices will be integrated
seamlessly into the museum’s technological ecology while
accessing NEMO, interconnecting to other technical museum
systems. We also use the mobile devices to identify the
museum visitors and thus, personalize their museum
experience. Other ways of identification will be possible.
III. SCENARIO
Although this work presents a backend solution, we
examine the following scenario of human-computer
interaction to illustrate the backend work:
Maureen O'Grady enters the Günter Grass-House through
the shop entrance and buys a ticket. Next to the cash register,
she notices a poster advertising the mobile app InfoGrid.
Becoming even more curious, she downloads and installs the
app on her smartphone. Upon startup, InfoGrid is asking some
questions related to personal data and preferences. Maureen
answers them, e.g., by selecting “literature”, “graphic art” and
“sculpting” from a list of semantic tags suggestions. She also
specifies that she has an hour time left for her visit to the GGH,
She finishes this phase after just a minute and finally starts the
tour “Günter Grass: My Century” within InfoGrid.
Maureen leaves the shop while InfoGrid displays a hint
indicating that she can always use the digital tour of “My
Century” wherever she notices a depicted graphical symbol
inside the exhibition. For now, she puts her smartphone away
and continues through the courtyard and from there through a
glass door into the foyer. On the right wall of the foyer, a large
shelf with numerous items is attached, the “Cosmos Grass”.
This is a collection of various items Günter Grass made or
collected by himself. A sign says, “Please touch”. At the table
in the middle of the room, the “Curator’s Table”, her
smartphone suddenly vibrates. She pulls it out of her pocket
and follows the instructions on the screen of InfoGrid.
Holding her smartphone in a way that the camera captures the
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Curator's Table through her smartphone, she can see the
sculpture of “Seven Birds” standing right up on the table like
being real. Intuitively she tries to grab the virtual sculpture.
Walking around the table, she looks at the high resolution
virtual sculpture from all sides. Then, she puts the smartphone
back into her pocket and, after taking a closer look at the
"Cosmos Grass" and despite another symbol for “My
Century”, for which she has not taken out her smartphone
again, she continues into the next room.
On the wall of the next room Maureen slowly passes the
InteractiveWall. She notices how the wall's display suddenly
changes, just as she approaches the screen. Instead of the
general information displayed before, a media gallery with
images and videos gets visible. The gallery is showing Günter
Grass with some of his tools in his sculpture workshop.
Maureen is thrilled to see how Günter Grass actually created
the sculpture “Seven Birds” she had previously viewed from
all sides as a 3D object in InfoGrid. She continues her way
through the GGH smiling, as sculpturing is a special interest
of her as she told InfoGrid earlier.
Finally, Maureen makes her way to the exit. From a
distance, she sees how another visitor passes the
InteractiveWall screen and the content changes again.
Curious, she comes closer and sees that completely different
media have been displayed for the other visitor. He notices
Maureen and they start a conversation about this phenomenon
and their personal interests.
IV. SYSTEM ARCHITECTURE
Museum visitors can use InfoGrid, described in more
detail by Ohlei et at. [11], to experience information tours at
specific locations with their own mobile devices. These
locations can be inside a museum building as well as in urban
or rural areas. With the help of web-based ALS software,
curators can create or edit these information tours. The visitors
can download InfoGrid inside the museum through regular
Android or iOS app stores. Once installed and started,
InfoGrid connects to an instance of NEMO on-site and
displays NSM. NEMO individually selects these NSM for
each visitor, e.g., from personal preferences the visitors enter
on startup of InfoGrid.
InteractiveWall, as introduced by Winkler et al. [6] is a
web-based application, which runs on systems equipped with
32”-90“ multi-touch screens. Each installation of the
InteractiveWall is equipped with a Bluetooth LowEnergy
beacon, which allows InfoGrid to detect the visitor’s position
in the physical exhibition. This supports the individualized
display of content on the InteractiveWall through NEMO,
e.g., when a visitor is in front of the installation.
NEMO is a web-based framework for ALS, described by
Bouck-Standen et al. in more detail [21]. The NEMO API
provides access for applications, such as InfoGrid, interacting
through Web Services in an authenticated context over a
secure connection. The NEMO framework decides which
media is presented to the visitor depending on multiple
algorithms.
V. USING NARRATIVE SEMANTIC MEDIA IN MUSEUMS
The scenario illustrates how InfoGrid guides the user
through the exhibition. In the following, we describe how with
the use of NSM, our backend solution provides the necessary
media for display in InfoGrid.
At first, Figure 1 shows the annotation sets and included
tags required for our setup. With the annotations from the
basic set, the media is described with a subset of annotations
of the Ontology for Media Resources [22], which is sufficient
for our purposes. These are compatible with the basic
Museum Object Documentation, which Dresch and
Mainberger [22] examine as a link between the real museum
collection and the digital reflection of a museum. This is also
utilized in museum documentation systems [3]. These
implement the relationship between the systems presented in
this article to museum systems already established. In addition
to semantic annotations, narrative annotations extend media,
as depicted in Figure 1. These are required by NEMO in order
to place NSMs on narrative paths.
In the following example, a narrative path has a fixed
length l and consequently consists of l NSMs, which are
selected by the NEMO applying to a story model. According
to the visitor’s settings, e.g., depending on the time she or he
can spend inside the museum, l is varied. The visitors set the
Figure 1. Overview of annotation sets for NSM.
Figure 2. Based on visitors’ preferences, history and tracking data, NEMO
selects NSM in order to guide visitors with InfoGrid and additionally
controls media displayed other devices in the museums.
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length l on startup of InfoGrid, when the application asks, how
much time they would like to spend in the exhibition.
As
Figure 2 illustrates, NEMO selects Semantic Media based
on the on-site data, semantic model and visitors input,
interaction and usage history. By selecting a sequence of
media and providing them to InfoGrid as a narrative path, the
mobile app is able to guide the visitors by displaying the
contents of the NSM to them according to their location inside
the exhibition. During usage, InfoGrid continuously submits
data about the visitor’s interactions in a way that NEMO is
able adjust the selection of media during the visitor’s stay.
Consequently, visitors do not necessarily follow a preset or
given path through the museum, but are able to explore
depending on their interest or intent raised by this digitally
enriched exhibition. This can result in a possible change of the
narrative path.
For the scenarios presented in this article, we focus on a
basic story model based on arc of suspense [23]. This story
model is characterized by an introductory start, a part of
raising tension followed by a climax, an optional phase of
falling tension (outro) and an end, as illustrated in Figure 3.
Technically, this requires the NSM to be assigned into these
phases to determine the position of an NSM on a narrative
path. In this implementation, the annotation act (see Figure 1)
positions an NSM with the values of start, end, predecessor,
successor, and context at the corresponding position of the
narrative path. There are no special annotations for raising
tension or climax, to allow those phases to consist of an
unlimited number of NSM. Thus, the suspense of a narration
is implicitly modeled by the positions of NSM through the act
annotation. Other annotations shown in Figure 1, such as e.g.,
ageClass, gender, language, or constraint are used in order to
select NSMs according to the visitor’s profile.
The creation of a new narrative for a tour through an
exhibition begins with the selection of media from the pool of
media the museum has already semantically annotated. At
first, for the start of the tour, an NSM has to be selected, which
Figure 3 illustrates as s1. In the example, the tour should end
with e1 or e2. For this, these media are annotated with the
corresponding annotation. Consequently, Figure 3 shows, that
a visitor can reach two possible ends.
Having defined the start and end or a tour, all NSMs have
to be identified the tour may consist from. In this case, there
are 5 NSMs from the pool of media, which are suitable for the
exhibition at hand. In this example, the media named f1 and
h1 have the same structure annotation, and are both as
successors of s1. The NSM named f2, g1 and h2 are also
labeled with same structure annotation, which is different
from f1 and h1. As a result, f1 and h1, as well as f2, g1, and h2
are grouped in two separate groups, G1 and G2 as Figure 3
shows. It can be observed from Figure 3, that starting from s1
the narrative path branches out into f1 or h1. As those NSM to
follow s1 on the narrative path are set manually, Figure 3
shows the transition as undashed arrows. For visitors starting
at s1, NEMO determines which path to take. This depends on
the semantic annotations mentioned above in context with the
users’ profile and history. If, e.g., f1 and h1 with a distinct
ageClass annotation set were to distinguish different age
classes of visitors, children would follow the path p1=s1, f1,
whereas adults p2 = s1, h1, for example. Moving from G1,
which contains NSM to raise tension, to the climax, which all
NSM selected for G2 represent, the transitions Figure 3 shows
as dashed arrows are automatically determined by NEMO. For
this, at first, G2 is automatically aligned in sequence after G1
due to timeSetting annotations of the NSM. As no other groups
exist, G3 containing both ends e1 and e2 follows sequentially
after G2, and the transitions Figure 3 are calculated
equivalently. Afterwards, for each path leading into G2, from
semantic and narrative annotations, such as tags, location, or
constraints, NEMO determines, which NSM follows on the
paths p1 or p2. In the exemplary abstract case shown in Figure
3, p1, e.g., may be extended by both f2 and g1, as g1 can be
served both age classes mentioned above. This results in 7
possible narrative paths of length l=4.
At any point, other additional transitions could be defined
manually by adjusting the successor or predecessor
annotation in act of the corresponding NSM. This provides the
means to directly adjust narrative paths.
The length l>=4 can be chosen by the visitor. However, a
predefined narrative path with l=10 may be shortcut by
visitors who lack time for completing the tour in full. In this
case, the act and structure annotations make sure that the most
important NSMs are included in the narrative path. In
addition, NEMO is not limited to the story model introduced
here.
The narrative path calculated by NEMO also depends on
the visitor’s physical location inside the exhibition. We detect
the visitor’s location using InfoGrid and Bluetooth
LowEnergy beacons, which are positioned at key points of the
installation, such as room entrances. If a visitor is near such a
point of interest, NEMO triggers recalculation of the NSM
distributed to the instance of InfoGrid of the respective user.
In Figure 4, we regard the world model of the GGH, which
abstracts the museum, its exhibits, objects and research into
digital space. This brings the late artist and writer Günter
Grass into context with, e.g., persons he knew, was influenced
by, and influenced upon, institutions, elements from his
biography, elements from his world picture, and elements
from his works. For complexity reasons, Figure 4 shows an
overview of the model with focus on the sub-model used for
Figure 3. Exemplary narrative paths of length l=4 generated
from a total of 8 NSM.
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“My Century” in our scenario. For the Museum of Nature and
Environment another model exists accordingly.
Grass “My Century” casts a retrospective review of the
20th century in a hundred stories and is narrated from the point
of view of different people from all areas of German society,
from an assembly line worker to a professor. Each story is
accompanied by an artwork created by Grass and features
crosslinks to persons, historic events, and other works of
Grass, which are mostly hidden in textual hints or, e.g.,
allusions.
As the above process of creating a narrative path with the
use of NSM outlines, a user is required to define NSM as start
and end narratives. However, the process of selecting
narratives between starting and ending narratives can be
automated. We achieve this by using the semantic model
created for the particular context the media is selected in. For
example, for a certain year from “My Century”, according to
the semantic model (see Figure 4), NSM annotated from that
year correlates to other NSM, not necessarily dated to the
same year, and possibly annotated corresponding to the
visitor’s interest. Thus, the process of media selection for any
other than starting or ending NSM, NEMO automates the
selection, leaving annotations such as ageClass, gender,
language, or constraint for manual retouch only.
VI. PRE-EVALUATION AND VALIDATION
We have carried out a pre-evaluation of our
implementation under laboratory conditions with 5 subjects
using a total of 50 NSM with both 3 starting and ending
narratives. The evaluation was conducted using the arc of
suspense as the story mode. In our tests, l was defined as l ϵ
{3, 7} and we configured NEMO to automatically create two
tours per subject. The tours were displayed inside a web-
browser and we collected the user’s feedback according to the
Think-Aloud method [24]. In all cases, the subjects
experienced both tours and gave positive feedback. The NSMs
were assembled to reasonable narrative paths that the subjects
were able to comprehend. Under laboratory conditions, with
50 NSM and both 5 starting and ending narratives, NEMO
was able to construct narrative paths of all lengths l with l ϵ
{3, 10}. The test show that, apart from the duration a visitor is
willing to spend on a narration, the upper boundary of l
depends on the number of semantic connections between the
NSMs. However, we have not defined a measure for the
complexity of semantic correlations between NSMs to be able
to make a general statement with regard to the capabilities of
NEMO being able to always create a narrative path to the
visitors’ desire of length l. Although NEMO was able to
generate the narrative paths in our test settings from only 50
NSMs, there may exist scenarios, where NSMs may not be
connected to each other. A solution to this challenge may
present itself by selecting a story model with a looser coupling
between the NSM. The postmodern story model [25] allows
more combinations between NSMs, as the model does not
follow an arc of suspense. We have also implemented and
evaluated this story model with the subjects and analogous to
the setting described above. However, the subjects clearly
indicated that they did not understand the concept of the
postmodern story model and experienced the narrative paths
generated by NEMO from the postmodern story model as
“disordered” or “incomprehensible”. Museum professionals
from our project partners confirmed this observation.
The pre-evaluation shows, that NEMO creates individual
narrative paths that the subjects are able to understand and
follow. This influences the perceived quality of the narration.
The pre-evaluation indicates that the parameters of perceived
quality and length of narrative paths generated from NSM
have to be considered together. It also suggests that (a) the
quality of narrative paths perceived by visitors depends on
both quality and quantity of NSMs available, on which the
narrative paths are based and from which they are generated
by NEMO, as well as (b) the complexity of the story model,
which is also dependent on the type of audience.
For future evaluations, from the qualitative feedback and
from the experience of our museum project partners, we
derive that a questionnaire should focus on user experience
and be accompanied by questions with regard to the visitors
understanding of the story model, the visitors’ perception of
the narrative path in total, and the perceived quality of the
NSMs selected by NEMO as to their motivation of self-
directed discovery.
Figure 4. The museum model of the GGH from an overview perspective at the current state of research.
For the scenario presented in this contribution set in the GGH, we focus on the use of NSM in the “My Century” part of the model.
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VII. CONCLUSION AND OUTLOOK
In this contribution, we illustrate a system concept to
provide an individualized museum experience. The goal is to
augment physical museum exhibits with digital media in a
personalized, flexible, and self-adapting narrative structure
motivating self-directed discovery. Based on the scenario, we
describe the use of technology to design an individual
experience for visitors. Unlike other approaches of story-
telling, NEMO generates narrative paths from Narrative
Semantic Media, presented in this contribution. Thus,
museum narrations consist of media as digital overlays and
extensions to physical exhibits. Narrative Semantic Media is
one focus of our research and a main concept throughout ALS.
In NEMO, we use semantic annotations to classify and
interrelate plain media within semantic models, and
algorithms accessing the semantic models and the users’
personal information, e.g., on interests or interaction history,
in order to select semantic media for narratives. These media
are enhanced for their use on dynamic narrative paths through
narrative annotations, forming what we call Narrative
Semantic Media. Having selected NSM for a narrative path
for a thereby personalized user experience, NEMO depends
on ALS applications, such as InfoGrid and the
InteractiveWall. These frontend applications allow the users,
in our scenario the museum visitors, to interact with NSM.
In our future work, we will also study the visitor’s
experience on-site with our project partners quantitatively and
in more detail. Through the semantic relation of the stored
data, visitors can discover new relationships between the
museum objects or even urban structures outside the museum.
Next to the visitors’ experience, we will study the curator’s
experiences while using ALS systems. Furthermore, we will
evaluate how curators build and how visitors use dynamic
narrative paths throughout the museum. As InfoGrid and the
InteractiveWall are part of the family of ALS applications, we
plan to evaluate their interconnection with other applications,
also in school context. In this context, the interconnection
between multiple distributed instances of NEMO will be
subject to further research and development.
ACKNOWLEDGMENT
We develop NEMO, InfoGrid, and other ALS-
applications in the research project Ambient Learning Spaces
funded since 2008 by the German Research Foundation
(Deutsche Forschungsgemeinschaft, DFG).
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