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Designing mobile digital experiences
... Although the post digitization phase of exhibitions reflects a more thorough incorporation of digital content in exhibition practices [16], the expectation by exhibition visitors for new digital experiences are increasing parallel to the technological advancement. The potential of digital technologies not only contains qualities in providing involving experiences, but also richly authentic learning experiences that enrich visitors' enjoyment and learning, which would be difficult to provide through other media [17,18]. As such, this area has in recent years attracted international attention and investments on digital experiences in exhibitions [19][20][21][22][23]. ...
... Gammon and Burch emphasize the importance of hardware, software and content being based on an understanding of users' needs, desires, expectations and behavioral patterns [17]. Obviously, this does not sound like a particularly surprising conclusion. ...
... However, reality is often that many digital exhibition projects are not based on actual user tests or reconciliations with users' expectations, who have to use the digital offers [19-21, 30, 31]. Compared to this view, it does not seem surprising when Gammon and Burch point out that users often respond unexpectedly and surprisingly to digital installations in relation to exhibition organization's expectations, intentions, and desires [17]. A large amount of literature exists about museum visitors' experience in the physical exhibition space. ...
This paper presents insights from a collaborative design research project, in which a zoological aqua park in Denmark integrated multiple gamified digital installations in their new exhibition design. We document how these designs are in a tension between allowing game-based interactions, and the didactic communication about facts in the exhibition. We study the implemented solutions based on qualitative interviews with visitors, and with quantitative data from the backend game analytics of the installations. From triangulating these data sets we show how attempts to deliver purely fact-based information through didactic design elements fail to succeed in engaging the visitors, while stealth learning sparks enlightenment about the subject matter. Our results suggest that this is true both in cases in which users fully understand and play through the intended interactions, as well as when more negotiated interpretations of the digital installations are performed. From this our contribution are guiding principles for the balance, between experience and enlightenment in gamified exhibition designs.
... Although the post digitization phase of exhibitions reflects a more thorough incorporation of digital content in exhibition practices [16], the expectation by exhibition visitors for new digital experiences are increasing parallel to the technological advancement. The potential of digital technologies not only contains qualities in providing involving experiences, but also richly authentic learning experiences that enrich visitors' enjoyment and learning, which would be difficult to provide through other media [17,18]. As such, this area has in recent years attracted international attention and investments on digital experiences in exhibitions [19][20][21][22][23]. ...
... Gammon and Burch emphasize the importance of hardware, software and content being based on an understanding of users' needs, desires, expectations and behavioral patterns [17]. Obviously, this does not sound like a particularly surprising conclusion. ...
... However, reality is often that many digital exhibition projects are not based on actual user tests or reconciliations with users' expectations, who have to use the digital offers [19-21, 30, 31]. Compared to this view, it does not seem surprising when Gammon and Burch point out that users often respond unexpectedly and surprisingly to digital installations in relation to exhibition organization's expectations, intentions, and desires [17]. A large amount of literature exists about museum visitors' experience in the physical exhibition space. ...
... The model frames the complex interplay of the three dimensions of the museum visit: the personal context, the sociocultural context, and the physical context. Gammon and Burch (2008) use the model to create best practice guidelines for designing digital mobile experiences within museums. They argue that a digital technology should fit into the complex nature of social interactions between museum visitors, correspond to their personal interests, and fit into the museum space. ...
... The personal context also accounts for visitor preferences: their preferred approach to learning and engaging, along with individual interests, attitudes, motivations and behaviors. In accounting for the personal context, digital interventions raise the potential to positively influence the museum experience by offering the ability to provide a level of customization and personalization (Falk and Dierking, 2016;Froes and Walker, 2011;Gammon and Burch, 2008). According to Gammon and Burch (2008), many museum technology projects have failed due to the fact that the target audience of these projects was too wide-their findings suggest that such projects should cater to the personal needs of the visitors and target a more specific audience. ...
... In accounting for the personal context, digital interventions raise the potential to positively influence the museum experience by offering the ability to provide a level of customization and personalization (Falk and Dierking, 2016;Froes and Walker, 2011;Gammon and Burch, 2008). According to Gammon and Burch (2008), many museum technology projects have failed due to the fact that the target audience of these projects was too wide-their findings suggest that such projects should cater to the personal needs of the visitors and target a more specific audience. ...
This paper presents Word by Word—a mobile game that allows visitors to personalize and share their experience by allowing them to construct and continue each other's stories based on the objects that they observe within the museum. The objective of the game’s concept and development is to contribute to the ongoing body of work in how mobile games could be used to support meaningful social experiences within museums. Through the use of humor, the game encourages visitors to socialize within the museum and provide unique personal interpretations of the artworks. Through a process of iterative design, our research provides insights into which mobile interface design factors could inhibit or enhance a collaborative storytelling experience, and how a mobile game could be used to support a meaningful social museum experience by encouraging visitors to construct their own personal interpretations of the artworks.
... Mobile technology can also create new possibilities for learning through conversation and social interaction (Sharples, 2005), although there are conflicts noted in the research regarding the role that mobile phones may play in supporting or hindering social interaction in museums (vom Lehn, 2005;Gammon, 2008). Some studies have shown that the personal nature of mobile devices creates a sense of isolation and that the use of headphones on some mobile devices directly block dialogue and other social interaction (Hsi, 2002). ...
... Some studies have shown that the personal nature of mobile devices creates a sense of isolation and that the use of headphones on some mobile devices directly block dialogue and other social interaction (Hsi, 2002). Other studies have demonstrated that certain design considerations and applications of mobile technology can enhance conversation and social interaction in museums (Gammon, 2008). As an example, the mobile stuffed animal guides described above were found to enhance dialogue between children, as they would listen to and compare the different content spoken by each other's stuffed animals (Gottlieb, 2008). ...
... As a function of both mobility and connectivity, mobile phones can extend museum experiences outside the walls of the museum by allowing for the capture of digital artifacts in the form of pictures, videos, or texts, as well as by opening up channels of communication inside and outside the museum. (Falk & Dierking, 2008;Gammon, 2008;Sharples et al, 2007;Hsi et al, 2004;Pierroux, 2008). Accessing these digital artifacts after museum visits allows visitors to reflect on learning experiences and to further explore topics that interest them. ...
This paper addresses current conceptions of mobile learning in museums with an emphasis on the relationship between physical space and mobile learning. The goal of the paper is to introduce a perspective that considers museum space as supporting and enriching mobile learning interactions and to propose the development of design principles for future museum and exhibit designs.
... On their part, museums and cultural heritage institutions have been early adopters of novel forms of interactive technologies, such asfor examplemobile, contextaware applications, touch-based interaction, and auditory interfaces, with the main goal to explore how technology could aid visitors in comprehending and interpreting what they encounter in these settings in ways that are engaging and sensitive to their circumstances (Gammon & Burch, 2008;Kalay, Kvan, & Affleck, 2007). ...
... Work in ubiquitous computing and mobile and distributed systems has brought to heritage sites an increasing number of systems where interaction is not focused solely around one device/location (such as, for example, a tabletop installation or a mobile guide), but rather relies on a variety of components that are distributed across an exhibition space, often including a portable element (Gammon & Burch, 2008;O'Hara et al., 2007;Petrelli, Dulake, Marshall, Pisetti, & Not, 2016). The focus of the analysis in these cases explores complex trajectories of visitor interaction and of sense-making in these contexts (see, for example, Fosh et al., 2016). ...
This article examines visitor interactions with and through a physical/digital installation designed for an open-air museum that displays historic buildings and ways of life from the past. The installation was designed following the “Assembly” design scheme proposed by Fraser et al. (2003 Fraser, M., Stanton, D., Hui Ng, K., Benford, S., O’Malley, C., Bowers, J., … Hindmarsh, J. (2003). Assembling history: Achieving coherent experiences with diverse technologies. Proceedings of ECSCW 2005, 179–198. Norwell, MA: Kluwer. [Google Scholar]), and centered around five principles for the design of interactive experiences. We discuss how the Assembly framework was adapted and applied to our work on the installation called Reminisce, and we then present qualitative data gathered through the shadowing and naturalistic observations of small groups of visitors using Reminisce during their exploration of the museum. Through these data excerpts, we illustrate how interaction occurred among visitors and with the assembly. We reflect on the guiding principles of the adapted Assembly framework and on their usefulness for the design of place-specific interactional opportunities in heritage settings. Results from the empirical study show that the adapted Assembly principles provide HCI (human–computer interaction) researchers and designers with ways in which to flexibly support collocated interactions at heritage sites across artifacts and locations in ways that both complement and enrich the physical setting of the visit and its character.
... But discussions like these tend to seem simplified. Depending on the design, digital technology can either distract visitors' attention from real objects, or increase their engagement with exhibits [24]. In reality, it is a complex situation, and it may seem difficult to conclude either or in this case, unless one is willing to ultimately determine and define how the museum experience ought to be (which would be contradictory, since most researchers agree about defining the museum visit as something very unique to the single individual). ...
... But the relation between the various elements of information is accordingly crucial for the visitor experience. Studies on kiosk systems with onscreen museum labels showed that it was crucial to easily view the objects referred to by these computer labels as visitors stood in front of the kiosk [24]. Audiovisual media may be more ( Figure 6) or less ( Figure 7) incorporated with original objects -either physically, stylistically or thematically, and it is therefore a characteristic to consider, when analysing the audio-visual museum mediation. ...
In today's history museums, the past is communicated through many other means than original artefacts. This interdisciplinary and theoretical article suggests a new approach to studying the use of audio-visual media, such as film, video and related media types, in a museum context. The centre of interest is how history and authenticity is mediated at history museums and how museum visitors perceive this use. In this article, focus is moved away from technology and specific types of installations to concentrate on what museums do with technology. Building on disciplines such as media science and museum studies, existing case studies, and real life observations, the suggested framework instead stress particular characteristics of contextual use of audio-visual media in history museums, such as authenticity, virtuality, interativity, social context and spatial attributes of the communication design.
... Digital technologies can have the potential to positively impact visitor meaning and consequently learning, because they provide to visitors the opportunity to customize their experiences and meet their personal needs and interests; they enhance the experience beyond the physical and temporal boundaries of the museum visit; and they layer multisensory elements within the experience, so as to enriching the quality of the physical context (Falk & Dierking, 2008, p.28). Learning is the situation in which the "individuals can be conceptualized as being involved in a continuous, contextually driven effort to make meaning in order to survive and prosper within the world, an effort that is best viewed as a never-ending dialogue between the individual and his or her physical and socio-cultural environment" (Gammon & Burch, 2008). Learning is driven by the interaction between visitors' external and internal conversation mediated by the changing context and by external shared media (Rudman et al., 2008). ...
... Learning: Learning is a situation in which an "individual can be conceptualized as being involved in a continuous, contextually driven effort to make meaning of that situation in order to survive and prosper within the world, an effort that is best viewed as a never-ending dialogue between the individual and his or her physical and sociocultural environment" (Gammon & Burch, 2008). ...
This chapter describes the evaluation methods conducted for a digital heritage system, called ARCO (Augmented Representation of Cultural Objects), which examines the tools and methods used for its evaluation. The case study describes the knowledge acquired from several user requirement assessments, and further describes how to use this specific knowledge to provide a general framework for a holistic virtual museum evaluation. This approach will facilitate designers to determine the flaws of virtual museum environments, fill the gap between the technologies they use and those the users prefer and improve them in order to provide interactive and engaging virtual museums. The proposed model used not only quantitative, but also qualitative evaluation methods, and it is based on the extensive evaluations of the ARCO system by simple end-users, usability experts and domain experts. The main evaluation criteria were usability, presence, and learning.
... In this sense both interactive programs (43.8%) and visual guides (42.9%) enjoy a good implementation, however it is not so in the case of digital games (28.6%) and resources of virtual reality (21.9%). Although there are ICTs that can be incorporated at a low cost in terms of infrastructure (for instance a blog), we have to take into account the necessity of specifically trained staff -not always acceptable -the cost of personnel and the necessity of having a clear idea for its implementation [7], and a relation costbenefit [8] for attracting, satisfying and cultivating the loyalty of the general public. Besides, on the other hand, other uses as virtual reality mean a great investment in terms of time, resources and money, and in addition to this there is a need to tackle the proven utility in particular applications, and not its potential, of many of these resources to facilitate a greater participation of the general public, so that this public would assume a more active role and would be able to enjoy a more intense museum experience. ...
... Therefore, in view of these results it feels appropriate to associate the use of ICTs with the type of visitors according to their degree of motivation. In both poles we would have actors -active visitors who adapt it to their interests-and spectators -passive visitors who just contemplate it [7]. ...
... Research shows that interactivity in museums increases engagement, interest, learning, and memorability (Gammon & Burch, 2008;Gottlieb, 2008;Hooper-Greenhill, 1994c). In other words, interactivity is a catalyst for the "edutainment" mission of modern museums and other cultural heritage institutions. ...
... Digital technologies can bring a high level of interactivity into museum premises. For example, they allow museum visitors to engage in gameplay and exploration of experiences "that would be impossible to replicate in the real world because such experiences are too small, too large, too slow, too fast, or too expensive" (Gammon & Burch, 2008). The use of portable multimedia guides has been at the forefront of the technologies used for making museum visiting experiences more interactive (Filippini-Fantoni & Bowen, 2008). ...
... Countries such as the US and Denmark now have more than 40 % smartphone penetration ("Our Mobile Planet," 2013). Gammon and Burch (2008) support the idea of visitors using their own devices due to the simple fact that visitors are already familiar with their design. ...
... Th e behaviour seems eff ortless and occurs in a matter of seconds. Th e ease and speed of smartphone use lead to the assumption that visitors might prefer their personal technologies because they are already familiar with their device and already know how to operate it (Gammon & Burch, 2008). ...
This paper investigates how museum visitors use digital technologies to mediate their general meaning-making process about artworks and other information they encounter throughout their museum experience. Concluding from a case study at the National Gallery of Denmark in Copenhagen, this study suggests that visitors use digital technologies as a vehicle for satisfying one or more personal needs. In order to gain control over their experience, visitors used not only digital technologies provided by the museum but also their personal technologies. The article argues that both museums and visitors will derive great benefits by understanding the ways in which people process multimedia messages and by implementing these principles of multimedia learning into the design of digital technologies at museums. The data also suggest that museums should especially support visitors in using technology with which they are already familiar and embed it in the museum experience.
... Digital technologies can have the potential to positively impact visitor meaning and consequently learning, because they provide to visitors the opportunity to customize their experiences and meet their personal needs and interests; they enhance the experience beyond the physical and temporal boundaries of the museum visit; and they layer multisensory elements within the experience, so as to enriching the quality of the physical context (Falk & Dierking, 2008, p.28). Learning is the situation in which the "individuals can be conceptualized as being involved in a continuous, contextually driven effort to make meaning in order to survive and prosper within the world, an effort that is best viewed as a never-ending dialogue between the individual and his or her physical and socio-cultural environment" (Gammon & Burch, 2008). Learning is driven by the interaction between visitors' external and internal conversation mediated by the changing context and by external shared media (Rudman et al., 2008). ...
... Learning: Learning is a situation in which an "individual can be conceptualized as being involved in a continuous, contextually driven effort to make meaning of that situation in order to survive and prosper within the world, an effort that is best viewed as a never-ending dialogue between the individual and his or her physical and sociocultural environment" (Gammon & Burch, 2008). ...
This chapter describes the evaluation methods conducted for a digital heritage system, called ARCO (Augmented Representation of Cultural Objects), which examines the tools and methods used for its evaluation. The case study describes the knowledge acquired from several user requirement assessments, and further describes how to use this specific knowledge to provide a general framework for a holistic virtual museum evaluation. This approach will facilitate designers to determine the flaws of virtual museum environments, fill the gap between the technologies they use and those the users prefer and improve them in order to provide interactive and engaging virtual museums. The proposed model used not only quantitative, but also qualitative evaluation methods, and it is based on the extensive evaluations of the ARCO system by simple end-users, usability experts and domain experts. The main evaluation criteria were usability, presence, and learning.
... Sin embargo, en la mayoría de los casos, se ha tratado la tecnología como un elemento de apoyo a los contenidos trabajados en los museos, y no como una herramienta útil para el desarrollo de sus programas educativos. Ha sido durante estos últimos años cuando han comenzado a publicarse algunos estudios referentes a este tema (Fang, Wang, Chang y Fan, 2007;Reynolds y Speight, 2008), las primeras orientaciones sobre su ejecución (Gammon y Burch, 2008) y algunas de las consecuencias para los visitantes (Falk y Dierking, 2008). El panorama de esas publicaciones, en nuestra opinión, está aún poco definido por tres razones principales: existen aún muy pocas evaluaciones con diseños complejos; los resultados obtenidos son más de producto, ligados sobre todo al impacto y a las características de su uso, más que al proceso de aprendizaje; y finalmente, los formatos y las plataformas tecnológicas implicadas, cambian sustancialmente de unas expe-riencias a otras, haciendo muy difícil extraer líneas comunes. ...
... La evaluación de estas condiciones de aprendizaje sigue siendo muy global, y está claro que se precisan evaluaciones mucho más precisas para poder establecer realmente como están funcionando los distintos parámetros que componen este tipo de situaciones de aprendizaje. Hasta ahora, tenemos una mayor reflexión racional que empírica sobre el diseño de las condiciones de aprendizaje informal, tanto de la expe-riencia (Gammon y Burch, 2008), como de los participantes (Hsi, 2008), en línea muy similar al análisis de situaciones formales (Chang, Sheu y Chan, 2003). ...
La relevancia e incidencia de los aprendizajes informales, parece cada vez mas clara. Estos efectivos mecanismos, se estan aplicando con intensidad en programas educativos de apoyo en espacios de presentacion del patrimonio y museos, y al hilo de la irrupcion de las TIC, tambien a traves de dispositivos moviles, pero ?son efectivos estos programas mas alla de la innovacion tecnologica? En el presente estudio se evalua un programa para educacion secundaria ejecutado en Zarautz (Pais Vasco). Los resultados confirman que la adquisicion de contenidos es buena, y el factor motivacional provocado por los dispositivos moviles es alto. Por el contrario, no se ha podido determinar si pueden presentar algun factor de distraccion para el alumnado. De caracter exploratorio y descriptivo, esta investigacion abre camino en un terreno poco explotado
... However, while the technologies used in these studies generally focused on interactions with users and non-living elements, social interactions seemed to lag behind. Even though technology support has the potential to make great contributions in this sense, many information and communication technologies used outside or inside museums still do not fully meet the learning requests of visitors, and the literature shows that they do not allow interactions with museums or other people (Gammon & Burch, 2008). For technology to promote social skills, long-term, focused activities are required (Katifori et al., 2016). ...
Technologies used inside and outside museums generate brand new perspectives and learning areas for museum learning. This study analysed 45 empirical studies that included technological tools used in museums as well as those tools that dealt with the museum’s visitor’s learning achievements. The results of the study show that a variety of cognitive and affective skills have been achieved in ICT-assisted studies. Having different dimensions of interaction, such technologies can be used for different purposes, such as providing general guidance, synthesizing museum learning, consolidating knowledge, designing or experimenting, and/or offering individual experiences with personalized technologies. On the other hand, it appears that technology is still not being used efficiently to the fullest extent of its potential. Therefore, it is recommended that further studies should present more suitable technologies that fit individual differences, have a capacity to increase social interactions, contain enriched specifications, and can be used in a variety of environments.
... Dijital teknolojilerin sunduğu olanaklar yüksek performanstan çok daha fazlasıdır. Ziyaretçilerin aldığı hazzı ve öğrenimlerini arttırmakta ve bunun da diğer araçlardan daha hızlı gerçekleştirmektedir (Gammon & Burch, 2008). Müzelerde kullanılan güncel teknolojilerin de etkisiyle müzeler tekdüze eser teşhir alanlardan giderek sıyrılmakta, ziyaretçisiyle etkileşimli ve ziyaretçinin aktif katılım sağladığı mekanlara dönüşmektedir. ...
Son yıllarda her alanda ve her sektörde yaşanan yoğun rekabet
ve pazarlama anlayışında yaşanan değişimler işletmeler açısından
tüketici odaklılığı ve tüketici ile iletişimi zorunlu kılmaktadır. Bu durum
ürün ve hizmet üreten tüm sektörlerde olduğu gibi turizm sektöründe
de tüketicilerin yani turistlerin isteklerini, ihtiyaçlarını ve beklentilerini
ürünlerin üretim ve sunum süreçlerinde dikkate alınması gereken en
önemli faktörler haline getirmiştir. Turistlerin ürünlerden ve
hizmetlerden memnun kalmaları ile geleceğe yönelik eğilimleri ve
davranışları arasında bir ilişki söz konusudur. Hem bu ilişkinin varlığı
hem de pazarlamanın etkin bir şekilde yürütülebilmesi turistlerin
beklentilerinin anlaşılmasını gerektirmektedir. Teknolojik gelişmeler
ve küreselleşme dünyanın her noktasının bilinir hale gelmesine ve
ulaşılabilir olmasına katkı sağlamıştır. Uzak ve o kadar zamanım yok!
gibi ifadeler çok geride kalmıştır. Artık en uzak mesafeler bile hem
zamansal hem de ekonomik açıdan tasarruf sağlayacak şekilde farklı
ulaşım araçlarıyla kat edilebilmektedir. Bu da daha çok turisti,
ziyaretçiyi, yatırımı, ilgiyi ve talebi kendisine çekmek isteyen ülkeler,
bölgeler, kentler, köyler kısacası destinasyon olarak adlandırabilecek
alanlar için yoğun bir rekabetin yaşanmasına neden olmaktadır.
Sanayi Devrimi ile başlayan ancak 2000’li yıllarla birlikte zirveye ulaşan
bu rekabet ve yarış, her pazarı, ürünü, hizmeti ve sektörü içine
çekmektedir. Bu rekabet ve yarış ortamında destinasyon ve turistler
arasında kurulacak uzun vadeli ve sadakat temelli bir ilişki oldukça
önemlidir. Her ürünün, markanın, hizmetin, stratejinin ve teknolojinin
çok hızlı bir şekilde taklit edilebildiği bir pazar ortamında uzun vadeli,
memnuniyet ve sadakat temelli kurulan bir turist ilişkisix
destinasyonların geleceğe taşınmasında hayati rol oynamaktadır.
Benzer ürünler üreten, var olan kaynaklarıyla yetinen ya da bu
kaynaklardan yeterli ölçüde yararlanmayan, gelişmelere ve
değişimlere ayak direyen, mevcut turistlerle yetinip potansiyel
turistleri kendisine çekemeyen destinasyonlar çok kısa sürede pazarda
yok olmaktadırlar. Sadece altyapı ve üstyapı yatırımları ile
yetinmeyen, ürün geliştirme ve pazarlamaya kaynak ayıran, hedef
kitleye kendisini doğru bir şekilde anlatabilen ve potansiyel turistlere
sürekli mesajını iletebilen destinasyonlar ise turizm pazarlarındaki
varlıklarını uzun süre devam ettirebilmektedirler. Destinasyon
yönetimi ve pazarlamasının yanı sıra birey bazında her turistin istek,
ihtiyaç ve beklentisinin anlaşılması ve bu taleplere zamanında ve
uygun fiyatlarda cevap verilmesi de ayrıca önemlidir.
Bu kitapta da turistlerin turizm ve destinasyon satın alma
süreçlerine ve satın alma sonrası değerlendirmelerine doğrudan ve
dolaylı etki eden ve katkı sağlayan tüm güncel bileşenler ve boyutlar
çeşitli yönleriyle 19 farklı kurum ve kuruluştan 26 yazarın katkıları ile
değerlendirilmeye çalışılmıştır. Bu denli kapsamlı ve güncel yönleriyle
turizm ve destinasyon konusunu ele alan alanyazındaki ender
çalışmalardan biri olan kitabımızın hem akademik araştırmacılara hem
de turizm ve destinasyon yönetimlerine ve pazarlamacılarına katkı
sağlayacağı ve yol gösterici olacağı düşünülmektedir. Eserimizi
okumaya ve yararlanmaya değer gören tüm araştırmacılara,
akademisyenlere, öğrencilere ve kitap ve okuma gönüllülerine sonsuz
teşekkür ederim.
... Moreover, mobile AR does more than just provide an extra digital space for museum interpretation; it superimposes an extra interpretive layer on objects which contributes to make museum experience more interactive, engaging and entertaining. In brief, capability of merging observational and interpretational aspects makes mobile AR (Elinich, 2011) a beneficial media for enhancing the interaction between visitors and objects (Rothfarb, 2011;Gammon et al., 2008;Falk et al., 2008, Bimber et al., 2005Samis, 2008;Craig, 2013) by providing their contextualized information named interpretation. ...
... Apart from new computer technologies, this is the period when mobile technologies are increasingly used and developed, and so it is understandable that there are papers that deal with their use in museums. Authors Gammon and Burch (Gammon & Burch, 2008) point out that the key to efficient use of mobile technologies for museum learning is a detailed understanding of the needs, wishes, expectations, and behaviours of visitors because with all their potentials mobile technologies also introduce a large number of difficulties. The greatest potential of these technologies is supporting different learning styles, providing authentic experiences, providing the possibility of connecting visitors through different forms and formats, which is especially noticeable in digital games which are interactively connected with museum exhibits and other visitors. ...
This paper discusses the relationship between new technologies and learning in museums, as a significant issue that is increasingly occupying the attention of many researchers, especially in developed countries. The connection between digital technologies and modernization of the learning process in museums is pointed out, which is more and more present, and is becoming an integral part of formal education. Museums, as institutions for the preservation of tradition and culture, are increasingly using digital media in their practice, as intermediaries in the development of a system of culture and tradition knowledge among the younger generations. The aim of this paper is to provide a chronological overview of new technologies used for learning in museums, based on the review and analysis of selected literature. For the purposes of this paper, all research studies are classified into four time frames in which the application of digital technologies in learning in museums can be monitored, from the first used tools to the appearance of virtual museums. The results of the research show that there is a connection between the development of new digital technologies and learning in museums, ie that the learning process in museums is modernized and changed in accordance with the development of modern digital tools. The paper concludes that today, learning in museums goes beyond existing traditional models, based on visits, lending of exhibits and lessons in museums and is increasingly becoming a modern learning process based on digital technologies.
... Many museums around the world (including historic buildings restored as museums) started to adopt and integrate ICT into their premises and interpretation programs on-site and on-line. For example, the Victoria and Albert Museum (V&A) in London has used computer-based labels to provide the museum's visitors with enriched interpretation about its collections of fine-arts objects (Gammon and Burch 2008). Virtual Autopsy: Explore a Natural Mummy from Early Egypt was a temporarily interactive exhibition at the British Museum that enabled its visitors to look inside the body of Gebelein man, a natural mummy that was buried around 3000 BC at the site of Gebelein in upper Egypt, and learn about his life and death in an interactive and engaging way (The British Museum 2017). ...
... Bu bağlamda, müzelerde yer alan oyunlaştırılmış içeriklerin arttırılması, çocukların aktif bir öğrenme ortamına sahip olmasına katkıda bulunacaktır. Diğer yandan, dijital teknolojinin müzelerde daha etkili kullanımına ilişkin belirlenmiş ilkeler (Gammon & Burch, 2008) ve farklı yaş aralıkları ve yetenek düzeyleri için erişilebilir bir müze deneyimi sunmak adına kullanılabilecek teknolojiler (Giusti, 2008) hakkındaki araştırmaların ülkemizde de çoğalması gerekmektedir. Böylece var olan koleksiyonların ziyaretçileri ile olan etkileşimi yeniden ele alınabilir. ...
21. yüzyılın öğrenme çerçevesinde video teknolojisinin öğretim potansiyeli umut vaat etmektedir. Çalışmalar, okulöncesi öğretimde video teknolojisinin etkisinin bir sonucu olarak çocuklar için olumlu gelişmeler olduğunu göstermektedir (Davidson vd., 2014, Wohlwend, 2009). Çocuklara koruyucu sağlık eğitimin kazandırılmasında YouTube’un yararlı bir platform olduğu düşünülmektedir. Bu çalışmanın amacı, okul öncesi çocuklara yönelik sağlık içerikli eğitici videoların nasıl sunulduğunu incelemektir. Bu çalışmada söz konusu videoların sunum biçimi içerik analizi yöntemiyle incelenmekte ve videoların “eğitici” bulunan yönlerinin altı çizilmektedir.
Araştırma probleminin daha net ortaya konulması için öncelikle YouTube’un eğitim işlevine değinmek, ardından da eğitimin dijital medya platformuna yansıyan biçimiyle çalışmaya konu edilen tartışmanın boyutlarına yer vermek anlamlı olacaktır.
... Bu bağlamda, müzelerde yer alan oyunlaştırılmış içeriklerin arttırılması, çocukların aktif bir öğrenme ortamına sahip olmasına katkıda bulunacaktır. Diğer yandan, dijital teknolojinin müzelerde daha etkili kullanımına ilişkin belirlenmiş ilkeler (Gammon & Burch, 2008) ve farklı yaş aralıkları ve yetenek düzeyleri için erişilebilir bir müze deneyimi sunmak adına kullanılabilecek teknolojiler (Giusti, 2008) hakkındaki araştırmaların ülkemizde de çoğalması gerekmektedir. Böylece var olan koleksiyonların ziyaretçileri ile olan etkileşimi yeniden ele alınabilir. ...
... Bu bağlamda, müzelerde yer alan oyunlaştırılmış içeriklerin arttırılması, çocukların aktif bir öğrenme ortamına sahip olmasına katkıda bulunacaktır. Diğer yandan, dijital teknolojinin müzelerde daha etkili kullanımına ilişkin belirlenmiş ilkeler (Gammon & Burch, 2008) ve farklı yaş aralıkları ve yetenek düzeyleri için erişilebilir bir müze deneyimi sunmak adına kullanılabilecek teknolojiler (Giusti, 2008) hakkındaki araştırmaların ülkemizde de çoğalması gerekmektedir. Böylece var olan koleksiyonların ziyaretçileri ile olan etkileşimi yeniden ele alınabilir. ...
İnsanlar gelişen teknolojiye her geçen gün daha da adapte olmakta, bu teknolojileri hayatlarının her alanına sokmakta hatta bağımlı hale gelebilmektedir. Ebeveynler kendileri rahat edebilmek için ufak yaşta çocuklarının eline taşınabilir teknolojiler vermekte, küçük yaştaki çocuklar buradaki içeriklerin etkisi altında kalmaktadır. Çocuklar boş vakitlerinde geleneksel kitle iletişim araçları yerine yeni medya teknolojilerinden faydalanmaya başlamıştır. Burada çocukların en çok ilgisini çeken, dikkatini tamamen verdikleri dijital oyunlar olmaktadır. Dijital oyunlar kültürel yapıyı etkileyerek iletişim biçimlerinde değişiklere neden olabilmektedir. Gelişim çağında olan çocuklar sanal ile gerçek arasındaki bağlantıyı doğru kuramamakta, bu da onların hatalı davranışlara yönelebilmelerine neden olmaktadır. Bu noktada çocukların bu iletişim araçlarında ne kadar vakit geçirdiği önem taşımaktadır. Oyunların puan odaklı yada ödüllendirme odaklı olması kazanma hırsı yaratmakta ve kazanmak için oyunda daha çok süre geçirme ihtiyacını arttırmaktadır. Firmaların pazarlama iletişimi kampanyaları için oyun oynayan çocuklar önemli bir hedef kitle olmaktadır. Oyunlarda silah ve benzeri etik olmayan, reklamı yasak ürünlerin, ürün yerleştirilmesi yapılabilmektedir. Dijital oyunlarda fiziksel ve ruhsal sağlığa zarar verebilecek içerikler yer almasının yanı sıra, interaktif oyunlarda çocuk hatalı sosyal çevre edinebilmekte, doğru olmayan davranışlara yönelebilmekte veya yöneltilebilmektedir. Küçük yaşta kontrolsüz oynanan oyunlar çocuğun gelişiminde etiksel açıdan problemlere neden olabilmektedir. Çocuk, simülasyon evreni ile gerçek dünya arasında yanlış bağ kurarak şiddete eğilim, anti sosyallik, oyun bağımlılığı gibi sosyal hayatında doğru iletişime geçmesini etkileyecek etiksel açıdan sorunlar yaşayabilmektedir.
... Les recherches académiques confirment, par ailleurs, que ce dernier type de dispositif semble offrir de nouvelles opportunités pour délivrer aux visiteurs différents types d'information et modes d'apprentissage (Gammon et Burch, 2008) ainsi qu'une implication plus active dans l'expérience de visite (Mancini et Carreras, 2010 ;Leighton, 2007 ;Ben Asr, Hallem et Lagier, 2017). Cependant, ces systèmes peuvent également présenter des inconvénients, tels que la coupure psychologique et physique avec le monde extérieur (Vom Lehn et Heath, 2016 ...
Cette recherche répond à la question de l’impact des
dispositifs digitaux dans la valorisation de l’expérience muséale
familiale. L’étude empirique s’applique plus spécifiquement
au couple adultes et jeunes enfants (7-12 ans). Deux méthodes
sont mobilisées : entretiens et observations. Un premier
résultat souligne les limites du numérique (visioguide) pour
faciliter l’appropriation de l’expérience muséale par l’enfant.
L’interaction humaine avec l’adulte reste indispensable. Le
second résultat démontre que le numérique (écrans, oeuvres
interactives, etc.) peut réduire la complexité perçue de
l’expérience, surtout aux moments critiques de décrochage de
l’attention, en instaurant des moments de détente qui facilitent
l’immersion. Le troisième résultat indique des attitudes et des
comportements différents vis-à-vis des dispositifs digitaux
selon le degré de familiarité familiale à l’expérience muséale.
... Man efterlades til dels med det indtryk i den politiske diskurs og til dels også i den museumsteoretiske litteratur, hvor der dog for nylig er begyndt at komme et mere teknologikritisk fokus på den digitale formidling (bl.a. Gammon & Burch 2008, Heath & Lehn 2008. Samtidig er der i Danmark i de senere år kommet mere empirisk forskning i den digitale museumsoplevelse og i, hvordan brugerne fra et kvalitativt sigte forstår, anvender og responderer på disse nye digitale tilbud (bl.a. ...
This article investigates the development of the concept of museum communication in a Danish cultural political context from 2006 until 2013 and the practical consequences a changed interpretation of the concept has for the Danish state-owned and state-supported museums. The main argument is that the concept of cultural communication, specifically concerning museums, has undergone a transformation towards having a digital content of meaning in recent years. And furthermore: that the meaning ascribed to the concept has practical impact. The increased attention paid to communication, particularly digital communication, in the tasks of the museums, is redistributing the museums’ resources, foci and priorities. is call for a more thorough discussion of what museums must and can be in the future – and not least for whom.
... They began by offering basic content on standard devices and have grown to deliver customized content on several different platforms with personalized functionality [5]. These technologies enable users to connect with others, search for information and create personal and shareable content [11]. Not only can the user choose his or her own content, however; information is also being delivered to individuals based on their needs and behaviors. ...
This paper presents some research activities in the field of Location Based Services to promote and valorize culture across the city and trigger informal and situated learning. Three initiatives in the cultural domain that use LBSs as a tool to communicate contextual knowledge across urban space are presented. Two of these examples are more specifically focused on the tour guide paradigm: a bilingual application designed to valorize the work of Achille Castiglioni, and a project designed to reveal Milan’s architectural heritage through the work of several renowned Politecnico di Milano graduates. The third is an adult game for promoting and spreading the culture of design, offering a fun, informal learning opportunity. This study considers both the valorization of cultural assets and the learning outcome achieved through active, physical exploration of the city.
... Museums, and by extension their digital counterpart, are considered learning environments commonly used in informal learning Hooper-Greenhill, 2007;Walker, 2008). This is based on the notion of learning as a "continuous, contextually driven effort to make meaning of a situation, in order to survive and prosper within the world; an effort that is best viewed as a never-ending dialogue between the individual and his or her physical and socio-cultural environment" (Gammon and Burch, 2008). Learning is an active process, of constructing new ideas, concepts, attitudes and their own identity, based upon their previous knowledge and experiences (Hein, 1991;Hooper-Greenhill, 2004). ...
This research explores the learning outcomes of online virtual museums employing diverse technologies such as images, videos, 3D reconstructions, etc. It presents the selection criteria (imageability, interactivity, navigability, personalisation, communication) of the five online virtual museums (VMs) involved in the analysis, each of which brings forward a prominent visualisation technology. Then, it describes the methodology of the evaluation process, in which a group of 164 (n = 164) participants, after exploration of the virtual museum websites, answered a self-administered questionnaire including 12 questions based on the concept of generic learning outcomes: a) knowledge and understanding; b) skills; c) change in attitude and values; d) enjoyment, inspiration and creativity; e) action, behaviour and progression. The results of a statistical analysis investigating the educational impact of each VM are analysed. The potential educational advantage of incorporating complex 3D reconstructions in a VM is questioned. A new methodology for analysing VMs is required. This paper contributes to the understanding of the educational impact of VMs in relation to their underlying technology and human computer interaction (HCI) features. Therefore, conclusions have a wider impact and can be generalised to be relevant even after design changes of the VMs selected for the evaluation.
... In their seminal work about visitor experience in museum settings, Falk and Dierking [2012] describe the importance of the " Social Dimension of Learning, " underlining the value of designing for experiences that permits sharing socially and physically. The social dimension of visitor experience within museums has been largely considered in designing mobile visitor experiences for museums in the last decade [Gammon and Burch 2008; Proctor 2010]. In parallel, there has been a growing interest in the use of social media platforms [Russo et al. 2006; Proctor 2010], and Social networks such as Twitter and Facebook, along with websites, are now being seen as surrogates for a physical museum experience " [NMC Horizon Report 2015 Museum Edition]. ...
With the growth of enthusiasm for the adoption of wearable technology in everyday life, the museum world has also become interested in understanding whether and how to employ smart glasses to engage visitors with new interpretative experiences. The growing interest in wearable technology encourages experimentation with smart glasses, as this trend is going to influence digital media interpretation for museums in the near future. To explore the use of smart glasses in the museum, a Glassware prototype was designed and tested through a field experiment that took place at the Robotics Gallery at the MIT Museum. During the experiment, I observed and then interviewed participants. Finally, I analysed the data following a qualitative research approach. The findings of this study have to be seen as an initial contribution to the design of latest generation of smart glass apps, providing reflections for further studies and projects.
... Museums, and by extension their digital counterpart, are considered learning environments commonly used in informal learning Hooper-Greenhill, 2007;Walker, 2008). This is based on the notion of learning as a "continuous, contextually driven effort to make meaning of a situation, in order to survive and prosper within the world; an effort that is best viewed as a never-ending dialogue between the individual and his or her physical and socio-cultural environment" (Gammon and Burch, 2008). Learning is an active process, of constructing new ideas, concepts, attitudes and their own identity, based upon their previous knowledge and experiences (Hein, 1991;Hooper-Greenhill, 2004). ...
This research explores the learning outcomes of online Virtual Museums employing diverse technologies such as images, videos, 3D reconstructions, etc. It presents the selection criteria (imageability, interactivity, navigability, personalization, communication) of the five on-line virtual museums (VM) involved in the analysis, each of which brings forward a prominent visualization technology. Then, it describes the methodology of the evaluation process, in which a group of one hundred sixty-four (n=164) participants, after exploration of the virtual museum websites, answered a self-administered questionnaire including twelve questions based on the concept of Generic Learning Outcomes; (a) knowledge and understanding, (b) skills, (c) change in attitude and values, (d) enjoyment, inspiration and creativity, (e) action, behavior and progression. The results of a statistical analysis investigating the educational impact of each VM are analyzed. The potential educational advantage of incorporating complex 3D reconstructions in a VM is questioned. A new methodology for analyzing VMs is required. This paper contributes to the understanding of the educational impact of VMs in relation to their underlying technology and Human Computer Interaction (HCI) features. Therefore, conclusions have a wider impact and can be generalized to be relevant even after design changes of the VMs selected for the evaluation
... No así en el caso de juegos digitales (novena posición, 28,6%) y recursos de realidad visual (onceava posición, 21,9%). Si bien hay TICs que pueden ser incorporadas con un bajo coste en infraestructura (por ejemplo un blog) hay que tener en cuenta la necesidad de personal específicamente formado -no siempre asumible-el coste en recursos humanos y la necesidad de tener un concepto claro para su implementación (Gammon y Burch, 2008), y una relación coste-beneficio en términos de atraer, satisfacer y fidelizar al público (Falk y Dierking, 2008: 28). Por otro lado, otros usos como realidad virtual suponen una gran inversión en tiempo, recursos y dinero, añadido a esto hay que abordar la utilidad contrastada en aplicaciones concretas (y no su posible potencialidad) de muchos de estos recursos para facilitar una mayor participación del público, que este asuma un papel más activo y pueda disfrutar de una experiencia museística más intensa. ...
... On one hand, ICT can be incorporated for a low cost in materials (for instance a blog), but the the requirement of having specifically-trained staff is not always possible. The same challenge is encountered regarding the cost of personnel and the necessity of having a clear idea for its need [21]. And, on the other hand, other uses for virtual reality imply a great investment in time, resources, and money. ...
... Mobile devices must be exploited for what they are: tools that can help to create a better relationship with visitors (Crew, 2007), to enhance the learning experience (Klopfer, 2008), to connect users with other users and to provide new opportunities to engage them in novel ways (Gammon & Burch, 2008). The discussion about mobile interpretation is therefore no longer about technologies themselves (Johnson, Witchey, Smith, Levine, & Haywood, 2010) but about the practices they enable (Salgado, 2009) and how these practices could be integrated in the field, to enhance visitors' experience (Crew, 2007). ...
... Interaction among museum visitors is known to enhance the visit experience [8]. Moreover, since a group visit is a common form in museums [9][10][11] and other cultural heritage sites, the focus of the research now turns to supporting groups in these places [12,13]. In such scenarios, technology-supported communication between museums visitors enables them to interact even when they are not in close proximity. ...
Ubiquitous computing plays an increasing role in our lives. Typically, applications in ubiquitous computing environments are context aware, namely, they react to the situations of their users at a given moment in time. One example for such environment is visitor’s guides in cultural heritage sites, supporting visits of individuals or small groups, such as families or friends. In such environments, it is well known that interaction among visitors enhances the overall visit experience. Recently, some research prototypes of visitor’s guides have started supporting such interaction through textual communication services embedded in them. However, these applications have so far been developed separately in an ad-hoc manner, despite common features and infrastructures they share. The research described here generalizes communication services offered by different visitor’s guides and suggests a systematic and generic framework for developing context-aware communication services for visitor’s guides. The specific communication services are abstracted into a domain model, later used in practice for adapting and tailoring the different concepts to the specific requirements of the applications. The framework is demonstrated in the specific setting of a multi-agent museum visitor’s guide system. We also show that the suggested framework is not limited to the specific museum visitor’s guide system but may facilitate the development of context-aware communication applications in general.
E-governments are considered the primary gateway through which citizens can access services and benefit from the information provided by electronic platforms when needed. Although the situation in developed countries has shifted from electronic governments to local electronic services, many developing countries still encounter various challenges, such as ease of use and enhancing user experience. This study aims to help address the obstacles faced by North African countries, including Morocco and Tunisia, in the context of e-government usability. It evaluates the accessibility of these sites, addresses the issues involved in using them, and suggests solutions that could enhance user experience by improving ease of use. The limited previous research on this region makes this study even more relevant. Research-based web design and usability guidelines (RBWDUG), specifically the chapter on optimizing user experience, serve as the foundation of this research, facilitating the assessment of ease of use and user satisfaction. Converting this valuable tool into a questionnaire enabled the research to achieve valuable results through evaluation. The evaluation of ten websites in each country, with 100 participants involved in the assessment, reveals a common pitfall when it in improving user experience and ease of use. This issue impacts user satisfaction and the effectiveness of e-government services. An important relationship has been established between these usability issues and the effectiveness and efficiency of these services. The study emphasizes the vital connection between usability and e-government service efficiency while recommending improvements based on user feedback.
The COVID-19 pandemic has brought unprecedented challenges to public cultural institutions, including museums. The museums gradually recognize the significant potential of digital technology in assisting museums to enhance their accessibility. Accordingly, the necessity and urgency of digital change is becoming increasingly prominent. How to ensure that the collection starts a new life cycle after entering the digital museum space and stimulates the educational potential of the collection. This has become one of the key issues that need to be explored in the post-pandemic era when museums utilize digital learning platforms to carry out blended education and expand their educational functions. As a forerunner, the Smithsonian Institution has created an interactive museum digital learning platform named Smithsonian Learning Lab, which has carried out pioneering exploration in three aspects, including digital educational resources, interactive digital tools, and learning outputs. It has constructed a new model of museum blended learning in the digital ecosystem, which provides significant enlightenment and a reference for Chinese museums to develop digital learning platforms and expand their educational functions in the future.KeywordsMuseum Blended LearningDigital Learning PlatformDigital CurationDigital Narrative
Technology was first implemented in exhibition design and gallery interpretations in the 1950s. Since then, the development and instructional use of technology in museums has increased significantly. With the recent trend in visitor-centered initiatives being encouraged by museum professionals, cultural institutions are arranging exhibitions and displays, offering activities and programs, as well as developing materials to better augment visitors’ on-site and off-site learning experiences. The most ubiquitous augmentations are the utilization of different digital technology and virtual museum (Mediati, 2011). For instance, Lu (1999) pointed out that museums installed flat-screen televisions for presenting exhibition and art object information while Chao and Lai (2008) found that museums used personal portable electronic devices for interpreting articles and developed interactive computer programs for inviting audiences’ active discovery learning. Recently, Buffington (2008) and Lopez, Daneau, Rosoff, and Cogdon (2008) indicated that distance learning and virtual exhibitions through museum websites, podcasts, and electronic networking are becoming more common.
Resumo: Esta pesquisa explora os resultados de atenção e meditação em estudos teste realizados com leituras de texto e com experimentos em um museu de realidade virtual que emprega diversas tecnologias, como imagens, vídeos, reconstruções 3D etc. São apresentados os critérios de imageabilidade, interatividade, navegabilidade, personalização e comunicação com o chatterbot. Os resultados das análises estatísticas do estado de atenção do estudante são investigados e o impacto da realidade virtual analisado. Evidencia-se vantagem no potencial educacional incorporando complexas construções 3D em um Mundo Virtual imersivo. Este artigo contribui para a compreensão dos estímulos de atenção no impacto educacional com realidade virtual. Assim sendo, conclusões têm um impacto mais amplo e podem ser generalizadas para serem relevantes após as investigações concluídas. Palavras-chave: Realidade virtual. Estados de atenção. Impacto Educacional.
Increasingly, cultural heritage professionals (CHPs) (including curators, museum directors, and education officers) are becoming more involved in designing interactive technologies. Specifically, growing access to and availability of digital technology enables CHPs, who may have limited experience with interactive technologies, to create content for and integrate these technologies into their museums. With these developments, there is a growing importance in investigating how CHPs build understandings of these tools in context; this is particularly since curators aim to learn how those tools can support their audiences. In this paper, we highlight how CHPs formed understandings for integrating an interactive tool to support an intended visitor experience into the museum environment through experimentation. Inspired by lessons learned, we propose design recommendations for interaction designers and HCI experts in designing tools and resources that support CHPs to experiment with various ways these technologies could service their interpretation goals.
The research paper stresses on the role of mobile apps in the enhancement of the museum-visit experience. It focuses on the perceptions and public attitude for this type of device. Two qualitative studies are made. The first study shows that the usage of mobile apps during the museum visit improves the educational, recreational, social and customization values the consumer associates to such experience. The second study refers to the specific expectations of young people in this area and highlights in particular the characteristics of the application considered essential to living a gratifying and rewarding museum experience.
A literature review considering digital reading in terms of impact, perception and usability in different contexts, with comparisons to paper-based reading.
Draw learning in early childhood is an important lesson and full of stimulation of the process of growth and development of children which could help to train the fine motor skills. We have had a lot of applications that can be used to perform learning, including interactive learning applications. Referring to the observations that have been conducted showed that the experiences given by the applications that exist today are very diverse and have not been able to represent the model of learning and characteristics of early childhood (4-6 years). Based on the results, Hierarchical Task Analysis method generated a list of tasks that must be done in designing an user interface that represents the user experience in draw learning. Then by using the Heuristic Evaluation method the usability of the model has fulfilled a very good level of understanding and also it can be enhanced and produce a better model.
Based on case studies from a heritage/museum context, I present and illustrate the notion of “spatio-contextual embedding,” which conceptualizes installation designs that augment real objects and environments while keeping these primary focuses of attention. Key for this “embeddedness” is that interaction is contextualized within a meaningful setting, creating relationships between system and environment. While retaining a focus on original objects or environments, it supports user's active engagement and sense making by inviting, enticing, or forcing them to draw connections. At the heart of this is “indexing”: mindful acts of referencing back-and-forth between here and there, connecting objects or representations. Analysis of case studies provides a repertoire of examples of “indexing,” and examples for high- and low-tech installation designs that foster drawing of connections.
Two core values for design underpin the argument: (1) primacy of real objects and environments and (2) supporting human agency. The case examples highlight how technological arrangements may support or hinder indexing activity. This is condensed into potential design strategies. This article contributes to design knowledge on design for human agency, sense making, and mindful engagement with our environment. “Indexing” is relevant beyond the heritage setting domain, as part of HCI design in support of human agency.
This paper discusses seminal contributions by and current open challenges for CSCW in the study of cultural heritage practices. It provides an overview of key issues relating to social and cooperative interactions—particularly around the design and use of technology—at heritage sites that have emerged in CSCW, and pertaining the conduct of visitors, the design and evaluation of interactive installations for guidance and access, and the creation of novel artistic performances. The paper then presents a set of open challenges for future CSCW work, particularly regarding the very re-definition of heritage in light of the social and collaborative practices that have arisen in recent years within the museum and heritage professionals community, and the emergence of new roles and practices for organisations, staff, visitors and related stakeholders. The paper aims at consolidating the range of contributions that CSCW has made to cultural heritage and at outlining key issues and challenges for future research in this domain.
In this paper we present a series of recommendations designed to guide universities in the development of mobile learning environments, based on a case study of the Universitat Oberta de Catalunya (Open University of Catalonia, UOC), an online university. A focus group was organized to gather students’ views on the three mobile developments for the UOC’s Virtual Campus: a hybrid app, an adapted version for mobile browsers, and an e-mail client app. The results obtained from the focus group reveal that students already use the UOC’s mobile developments in their day-to-day activities and expect this use to increase in the future. The principal recommendations address the need to develop a mobile learning environment with the scalability to accommodate new functionalities and services and the multi-device capability to meet the students’ choice of device, and the importance of a user-centered design (UCD) approach to meet student requirements.
The paper reports an experimental study of the effects of visual style, information access selectivity, and content-related challenge on user experience of a mobile museum app prototype. Higher visual richness and added content-related challenge were found to positively affect museum experience, while the effect of information access selectivity was negative.
The museum today faces complex questions of definition, representation, ethics, aspiration and economic survival. Alongside this we see burgeoning use of an array of new media including increasingly dynamic web portals and content, digital archives, social networks, blogs and online games. At the heart of this are changes to the idea of ‘visitor’ and ‘audience’ and their participation and representation in the new cultural sphere. This insightful book unpacks a number of contradictions that help to frame and articulate digital media work in the museum and questions what constitutes authentic participation. Based on original empirical research and a range of case studies the author explores questions about the museum as media from a number of different disciplines and shows that across museums and the study of them, the cultural logic is changing.
This is the first book to examine, in depth, the multi-million pound redisplay and reinterpretation process in British museums in the early twenty-first century. Acknowledging the importance of the Heritage Lottery Fund (HLF) as project catalyst, Hannah Paddon explains and explores the complex process, from the initial stages of project conceptualisation to the final stages of museum re-opening and exhibition evaluation. She also provides an in-depth look, using three case study museums, at the factors which shape each museum redisplay project including topics such as museum architecture, government agendas and the exhibition team. Finally, the book offers discussions and conclusions around pitfalls and successes and thoughts about the future of collection redisplay.
The smartphone market is nowadays highly competitive. When buying a new device, users focus on visual esthetics, ergonomics, performance, and user experience, among others. Assessing usability issues allows improving these aspects. One popular method for detecting usability problems is heuristic evaluation, in which evaluators employ a set of usability heuristics as guide. Using proper heuristics is highly relevant. In this paper we present SMASH, a set of 12 usability heuristics for smartphones and mobile applications, developed iteratively. SMASH (previously named TMD: Usability heuristics for Touchscreen-based Mobile Devices) was experimentally validated. The results support its utility and effectiveness.
This research sheds light on the non-intrusive traits of mobile devices (Electronic Guidebook, Rememberer, I-Guides and eXspot) deployed in Exploratorium for enhancing visitor experience via case studies. In an interactive exhibition environment, non-intrusiveness was the key to supporting the immersive experience and meaning-making for visitors. The usability of hand-held devices directly impacted on the non-intrusiveness, thereby reshaping the form-factors of mobile devices. The change in from-factor has also minimized the functions of devices as the remember of museum experience. Furthermore, the role of mobile devices, which turned from a supposed multi-media guide to a mere rememberer, made them virtually impossible for realizing the "seamless visiting model" originally planned. An array of projects carried out in Exploration have achieved some degree of success such as increasing viewing time as well as reinforcing post-visit activities. However, taken from musicological perspective, increase in viewing time is by all means insufficient to be taken as proof since it is assumed to be achieved by photo-taking (i.e. MyExploratorium) rather than by interacting between visitors and exhibits. This issue --increased viewing time -- needs to be analyzed in depth. All in all, mobile devices used in Exploratorium can be defined as a learning tool/educational supporting medium based on personalization for (visitors`) optimizing extended museum experience.
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