Virtual Museums Research Papers - Academia.edu (original) (raw)

Upon visiting the megalithic site of Ħaġar Qim in Malta, one is immediately struck by the fine workmanship of the remaining façade. However, studies on remains of a model discovered in another local megalithic site which represents a megalithic façade, indicated that today’s Ħaġar Qim façade is none other than a fraction of what should have been the original façade. A previous study showed the virtual reconstruction of the original Ħaġar Qim façade in its original setting [1]. This paper represents the visualisation of computer simulations of various lighting conditions on this construction. The façade was exposed to natural sunlight at the earliest hours of the day, followed by mid day lighting conditions leading to dusk and sunset simulations. Further to this, a hypothetical artificial fire light was also simulated and represented at various positions.
Since this is the first virtual 3D model of the Ħaġar Qim façade, it is also the first occasion to be able to view this magnificent entrance way in various situations in which the real Ħaġar Qim façade could have been visualised around 5500 years ago but cannot be experienced today.

- by
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- Communication, Cultural Heritage, Simulation (Computer Science), 3D Reconstruction

The research illustrates multiple experiences and strategies adopted in museums and in the world of cultural heritage in the field of digital storytelling to guide the future design of narrative digital solutions. Its aim is to provide as complete a picture as possible of the different solutions set in this specific sector of the field of cultural communication, their uses, and the accessibility of culture. It identifies and analyzes 14 types of digital storytelling: oral, written, video, visual, animated, interactive, Immersive, Social Media Storytelling, Participative, Generative, Geo–Storytelling, Multimedia Mobile Storytelling, Crossmedia and Transmedial storytelling. Finally, a new vision of the museum is proposed in which, beginning with the antiquarian and nineteenth–century vision of museum collections, develops into what should be defined as a connected museum or museum of connected narration.

- by Elisa Bonacini
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- Digital Humanities, Museum Studies, Digital Museum, Museum Education

This document describes the work currently in progress within the Virtual Museum Transnational Project (V-MUST.NET), within the Work Package 2 “house of Questions” dedicated to establish requirements and criteria analysis in the Virtual Museum domain. This deliverable contains the research and the state of the art about VM taking into account the results from Deliverables 2.1 and 2.2 and increasing them with new researches about the presence of VM in Europe and outside Europe, describing and analyzing their main characteristic.Deliverable 2.3 b is the updated version (2012-2013)

- by V-MUST network
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- Museum Studies, Virtual Environments, Digital Heritage, Virtual Museums
- by Elisa Bonacini
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- Museum Studies, Digital Museum, Storytelling, Interactive Digital Storytelling

PLACE-Hampi provides a framework for a new approach to the rendering of the cultural experience, whose aesthetic and representational features gives the general public a dramatic new appreciation of the many layered significations of such historical, archaeological, and architectural spaces. While PLACE-Hampi embodies a single user interaction model, the autonomous narrative scenarios that populate each of the panoramic scenes with

In the coming decades, the platforms and formalisms scholars employ to display, transform, and transmit information will continue to evolve. Innovations in information management did not stop with the codex. They will not stop with the PC. The purpose of this paper is to explore a specific implication that new paradigms of computing—especially those pertaining to 3D objects and 3D environments—will present for the discipline of history. Put simply, this study suggests historians will need to re‐think the aesthetics of their discipline. Drawing on the experience of the 3D Virtual Buildings Project, it suggests there are two possibilities historians can and ought to explore. The first is to test the efficacy of 3D objects as cognitive tools, tools designed to assist student realization that historical works are models, models that must be distinguished from the objects they represent. The second is to explore the use of 3D‐immersive environments as platforms to display research findings. If Virtual Reality is to emerge as a viable medium for the historical discipline, scholars will need to transform their practice. Assumptions regarding the constitution of narrative, authorship and the scholarly work will all require modification.

- by John Bonnett
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- Music Education, Philosophy, Communication, Instructional Design
- by Etienne Boumans
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- Criminology, Criminal Justice, Police Science, Forensic Science
- by Joe Rigby
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- Virtual Archaeology, Virtual Worlds, Virtual Museums
- by Krzysztof Walczak
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- Cultural Heritage, Metadata, Virtual Museums, Virtual Reality

The paper describes an ongoing project aiming at developing a benchmarking procedure for the definition of the most suitable methodology for different research goals like conservation, virtual restoration, web visualization, etc. Some typical archaeological artifacts have been tested with the 3D laser scanner NextEngine in order to define guidelines for the digital acquisition and post-processing of similar artefacts types. This test has been carried out focusing on the possible applications of the outcomes and on different parameters offered from the device. These recommendations should help CH professional interested in applying digital technologies in their routine work.

- by Nicola Amico
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- Virtual Museums, 3D Laser Scanning (Archaeology)

In 2016, during the preparation of a rock musical in Rome about the life of the Roman emperor Nero, CNR ITABC became involved in the proposal of a Virtual Museum dedicated to an area of the Palatine hill (the so-called Barberini Vineyard), facing the Colosseum, where the stage of the show should have been temporarily built. The paper presents a methodology that has been tested for the creation of the Virtual Museum of the Palatine, and identifies useful tools that could support the creation of virtual museums and how such museums could be located in a physical space and within a real collection. While planning and testing, we have demonstrated the usefulness of immersive reality as a way to prototype "on site virtual museums" and to solve common issues that emerge in the design and production of such installations.

- by Sofia Pescarin
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- Engineering, Computer Science, Digital Museum, Museums and Exhibition Design
- by Maryse G Paquin
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- History, Teacher Education, Museum Studies, Digital Museum

Hallel. Carmel. Bezalel The Exhibitions: Halel. Carmel Winery 'Judaica Now!': Goblets and Kiddush Cups of the Bezalel School These two exhibitions: "Halel. Carmel Winery" and "'Judaica Now!': Goblets and Kiddush Cups of the Bezalel... more

- by Shirat-Miriam Shamir and +1
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- Business, Art History, Jewish Studies, Design

Many thousands of virtual museums exist on the Internet, demonstrating very diverse and significant museum resources, showcasing the treasury of humankind. These resources have come a long way in their evolution over past decades. The history of virtual museums began long before they appeared on the Internet, and the concept of virtual museums needed to be established in order to become an essential and effective means of accomplishing new museum functions in the digital age. Through the designing of such a concept, the creation and development of museums' information resources, websites and various digital initiatives have become the keys to the success of museums in the digital environment today. This article considers the concept of a virtual museum , traces the transition of virtual museums from analog and interim multime-dia formats to the online environment. The author surveys the crucial moments in the history of virtual museums and the stages of their development from the digital turn to their appearance on the Internet and subsequent transformation after this transition. In this article examples of museum information resources from North America and Europe, Japan and Australia are traced back to the first virtual museums online in the 1990s. Based on the analysis of materials from web archives, strategies for creating the first virtual museum resources on the WWW are identified.

- by Nadezhda Povroznik (Gorbacheva)
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- Digital History, Virtual Museums, Web History

Contemporary art institutions' reluctance to produce virtual exhibitions has been linked to a prevailing skeuomorphic paradigm in the online display of art digitizations. Yet, what has been largely overlooked in museum computing scholarship is the fact that online collection interfaces and in-gallery group shows similarly condition artistic reception owing to a shared database logic, which has resulted in a mediation paradox in contemporary culture. This article examines the effects of this logic on public engagement, and recent digital curatorial strategies that have emerged in response based on notions of the digital aura and networked co-curation. The article concludes by establishing three conditions for an alternative curatorial process capable of adequately mediating art digitizations online without sacrificing aesthetic experience to the limited affordances of screen-based ICTs.

This paper investigates the use of 3D immersive virtual environments and 3D prints for interaction with past material culture over traditional observation without manipulation. Our work is motivated by studies in heritage, museum, and cognitive sciences indicating the importance of object manipulation for understanding present and ancient artifacts. While virtual immersive environments and 3D prints have started to be incorporated in heritage research and museum displays as a way to provide improved manipulation experiences, little is known about how these new technologies affect the perception of our past. This paper provides first results obtained with three experiments designed to investigate the benefits and tradeoffs in using these technologies. Our results indicate that traditional museum displays limit the experience with past material culture, and reveal how our sample of participants favor tactile and immersive 3D virtual experiences with artifacts over visual non-manipulative experiences with authentic objects.

- by Paola Di Giuseppantonio Di Franco and +3
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- Public Archaeology, Museum Studies, Virtual Reality (Computer Graphics), Museum Education

Бойко-Гагарін А.С. Застосування соціальних мереж у музейному маркетингу / А.С. Бойко-Гагарін // Матеріали міжнародної науково-практичної конференції, присвяченої 75-річчю Ізмаїльського державного гуманітарного університету ["Дунайські наукові читання: європейський вимір і регіональний контекст"] (м. Ізмаїл, 15-17 жовтня 2015 р.). – Том. ІІ "Філологія. Мистецтвознавство". – Ізмаїл, 2015. – С. 183-185.

- by Ana Beatriz Bahia
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- Museum Studies, Video Games, Virtual Museums, Childhood studies
- by Paola Di Giuseppantonio Di Franco and +1
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- Communication, Digital Humanities, Museum Studies, Digital Museum
- by George Nicholas
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- Communication, Museum Studies, Cultural Heritage, Museum Anthropology

The project "Virtual Museum of Design" explored the possible fruition modalities of a product having a high cultural content starting, on the one hand, from the analysis of the Design Museum concept, and the way this is interpreted in the different international experiences, and, on the other hand, of the Virtual Museum concept, leading to implementations very different from each others. This study has made evident interesting possibilities showing the potentiality of this approach on a limited number of museum items, narrated through the assistance of virtual models and their interactions with images, drawings, and multimedia materials.

- by Gabriele Guidi and +1
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- Design, Museum Studies, Industrial Design, Museums and Exhibition Design

Mixed Reality (MR) applications and technologies have become quite popular nowadays. They are used in many areas (e.g. Games, Entertainment, Education , etc.). But what about Cultural Heritage? Cultural Heritage is an area that presents a great variety of opportunities for MR applications. These opportunities include storytelling (a way for visitors to learn and retain more information about the exhibitions that they explore), gamified presence (an incentivizing tool to keep them attentive during their visit) and many more. This paper discusses the creation of Cross/Augmented Reality applications for the Industrial Museum and Cultural Center in the region of Thessaloniki, and presents some early results. The region of Central Macedonia has a rich history and its Cultural Heritage is extremely significant. The local importance of Cultural Heritage can be observed in the actions undertaken by local authorities, as well as the region's participation in European Cultural Heritage projects. The creation of Cross/Augmented applications can greatly contribute to the preservation and promotion of Cultural Heritage. These technologies are not only liable to prove very popular with the public due to their current mass appeal; they are likely to shape the Virtual Museums of the future. Overall, the main contribution of this paper is to provide the first bibliographical reference to examine the implementation of Virtual Museums in Cross Reality, Augmented Reality and Virtual Reality using both ARKit and ARCore's latest APIs.

- by Stéphanie Bertrand and +1
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- Cultural Heritage, Augmented Reality, Mixed Reality, Virtual Museums

State of the art on Virtual Museums and Needs of Museums in terms of technology (in italian). This is a chapter of the volume edited by B. Martini for F. Angeli "IL MUSEO SENSIBILE"

- by Sofia Pescarin
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- Museum Studies, Virtual Museums

On the 23 September 2014, after 2000 years from Augustus death, 13 countries havemet in Rome, Amsterdam, Alexandria and Sarajevo, for the opening of an extraordinaryexhibition, “Keys to Rome”: an interactive journey to discover Roman Culture, startingfrom the city of Augustus and reaching the entire Roman Empire, through the visit to 4 fascinating venues, 4 museums with their archaeological collections, more than 10 different technologies supporting and enhancing this global experience.This is more than an exhibition on Roman archaeology. "Keys To Rome" is a unique international exhibition, that, for the first time is organized in parallel in four locations:Rome, in the wonderful setting of the Imperial Fora Museum (Museo dei Fori Imperiali);Alexandria, in the Antiquities Museums of the Bibliotheca Alexandrina; Amsterdam, inthe recently renovated Allard Pierson Museum; and Sarajevo, in the newly restored CityHall (Vijecnica) and in the Sarajevo Museum.

- by Sofia Pescarin
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- Museum Studies, Museums and Exhibition Design, Digital Heritage, Virtual Museums

Рассматриваются информационные системы и их возможности в сохранении и репрезентации историко-культурного наследия. Дается определение понятия «виртуальный музей», выделяются основные типы виртуального музея. Анализируются возможности расширения доступа к предметам историко-культурного наследия посредством сохранения и репрезентации электронных копий и их коллекций и метаданных к ним, представления объемных моделей предметов историко-культурного наследия, восстановления облика утерянных фрагментов и полностью утраченных в реальности предметов. Информационные ресурсы виртуальных музеев рассматриваются как часть цифрового культурного наследия.

In order to preserve today, and to transfer into the future the identity of a community, a solution is the digitalization of both categories of cultural heritage, complemented by a subsequent structuring of the information, starting from the objects and buildings, up to their utilization by people. This logical process outlines the possible structure of a virtual museum of cultural identity.

- by Livia Stefan
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- Cultural Heritage, Virtual Museums
- by Sofia Pescarin
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- Archaeology, Digital Humanities, Creativity, Cultural Heritage

With the constant development of digital means of entertainment – that are easily made available to people and, in most cases, can be used anywhere – nowadays, a visit to a museum have to surround publics with unexpected and interactive experiences, in order to capture their attention and make them want to go to these places, in addition to continue to communicate their collections and promote society education. In this regard, it was discussed in this chapter the actual panorama of interactive technologies used in museums exhibitions worldwide, and there are discussed how these institutions are designing digital installations and utilizing virtual media to enhance the visitors' experience, promoting positive relations between them and their publics. The main conclusion and reflection of the chapter is based on how this new era of technology is allowing increasing physical, cognitive and sensory accessibility, and transforms this kind of experience for disabled publics.

- by Christina J. Hodge
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- Archaeology, Anthropology, Digital Humanities, Ethnography

Digital technologies are being introduced in museums and other informal learning environments alongside more traditional interpretive and communication media. An increasing number of studies has proved the potential of digitally mediated cultural heritage experiences. However, there is still a lot of controversy as to the advantages and disadvantages of introducing the digital into museum settings, primarily related to the risks and investment in terms of time and human and financial resources required. This work introduces the MUSETECH model, a comprehensive framework for evaluating museum technology
before and after its introduction into a museum setting. One of the unique features of our framework is to consider the evaluation of digital technologies from three different perspectives: the cultural heritage professional, cultural heritage institution, and museum visitor. The framework benefited from an extensive review of the current state of the art and from inputs from cultural heritage professionals, designers, and engineers. MUSETECH can be used as a tool for reflection before,
during, and after introducing novel digital media resources. The model covers technologies as diverse as mobile museum guides, Augmented and Virtual Reality applications, hands-on museum interactives, edutainment applications, digitally mediated tangible and embodied experiences, or online approaches used for museum education and learning.

- by Areti Damala
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- Information Technology, Digital Humanities, Usability, Assessment

В связи с тем, что цифровое рекламное пространство социальных сетей осваивается музеями с большим трудом и, как правило, отсутствует чёткая стратегия работы с ними, а данные опросов свидетельствуют о том, что информация из социальных сетей и представительств музеев в сети в сумме уже доминируют над таким популярным источником как информация от других людей, необходимо соблюдать определённые правила. Авторы делятся результатами социологических исследований в виртуальном пространстве.

- by Hookk Daria and +1
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- Social Media Marketing, Virtual Museums

Представлена на рецензування методична розробка методиста І-ї
категорії сектору методології музейної роботи, відділу науково-методичної роботи – Ковальчуком Андрієм Олександровичем на тему: «Створення музею в навчальному закладі, які перебувають у сфері управління міністерства Культури України», написана українською мовою обсягом 8 сторінок друкованого тексту з одним додатком. Розробка складається із вступу, 3 розділів, списку використаної літератури та додатку.

- by Sorin Hermon
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- Cultural Heritage, Museology, Virtual Museums

ミュージアム研究の「展示の政治学（ミュージアムの政治学）」理論についての総覧。... more

- by Masaki Komori
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- History, Cultural History, Cultural Studies, Anthropology

РЕЦЕНЗІЯ на методичну розробку «Методичні рекомендації щодо експозиційно-виставкового висвітлення політичних репресій та радянського тоталітаризму у Західному регіоні України (на прикладі музейних установ Львівської області)» Представлена до рецензування методична розробка на тему «Методичні рекомендації щодо експозиційно-виставкового висвітлення політичних репресій та радянського тоталітаризму у Західному регіоні України (на прикладі музейних установ Львівської області)» виконана завідувачем сектору методології музейної роботи Ведибідою Богданом Олександровичем. Робота обсягом 6 друкованих аркушів, складається з вступу, чотирьох розділів та висновків, списку використаної літератури. Представлена робота є високо актуальною, важливою, складною та якісно виконаною. Методичні рекомендації оформлені у науковому стилі та структурою, що може також її охарактеризувати ширше – як методичний посібник. Структура роботи є логічною, зміст охоплює низку важливих проблем музейної роботи. Праця виконана в оптимальному обсязі, ґрунтована на вагомому та вражаючому списку використаної літератури (160 одиниць) як вітчизняних, так і закордонних дослідників, в тому числі офіційних сторінок музеїв. Робота Ведибіди Б.О. логічно продовжує попередні праці автора, присвячені проблемам декомунізації в Україні, які є вагомим внеском у творення історії сьогодення та соціальної трансформації в Україні. В зазначених рекомендаціях вдало виділені методологія та характерні особливості висвітлення та комплексної оцінки, аналізу питань висвітлення в музейних експозиціях теми політичних репресій та тоталітаризму. Корисною є представлена в роботі повна законодавча база, подана із аналізом. Особливо корисними є дієві практичні поради з побудови експозиції на зазначену тематику в музеях України, підбору експонатів та забезпечення їх збереженості під час експонування. Приємно, що представлені в роботі висновки також якісно підкріплені прикладами із виставкової діяльності Національного музею історії України, зокрема затвердженої Концепції реекспозиції ІІІ поверху музею. Значною в роботі є подана історична довідка. Наглядним і показовим є ілюстративний матеріал. Цілком вдало автором наведені в роботі огляди та аналіз діяльності музеїв Львівщини, що демонструє вже існуючий практичний досвід висвітлення теми в музейній експозиції, що стало важливою та невід'ємною частиною роботи.

O presente texto pretende constituir uma reflexão sobre este novo território de criação, estudo e divulgação da arte contemporânea, tomando como referência um projeto recentemente desenvolvido através de uma parceria entre três instituições portuguesas. Iniciado em 2014, o projeto unplace tem como objectivo investigar propostas inovadoras para museus e exposições de arte contemporânea online. Mais do que discutir mecanismos ou estratégias de reprodução de obras de arte através da sua transposição de um formato físico para um contexto imaterial, a pesquisa centrou-se, desde o princípio, em conteúdos intrinsecamente concebidos para a Internet, nomeadamente nos domínios da Arte Digital e da Web Art. O acrónimo unplace sintetiza, assim, o título e o tema do projeto: “Um Museu sem Lugar: Museografia Intangível e Exposições Virtuais” ou, na versão inglesa: “A Museum without a Place: Intangible Museography and Virtual Exhibitions”.

- by Helena Barranha
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- Museum Studies, Digital Media, Contemporary Art, Museums and Exhibition Design
- by Arzu CILASUN KUNDURACI
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- Virtual Museums, Virtual Museum, Online Virtual Museums

Because archaeological databases contain unmanageably large numbers of records, users are still limited to targeted searches for specific information. Stimulating, creative browsing is rare at best. This has led to a search for new ways of selecting and composing data and new forms of representation, the goal being to introduce new ideas and research perspectives by linking monuments together in unconventional ways.
Unlike computer games, databases lack a narrative—hence the suggestion to reconstruct the biography of the objects and buildings in time, space and materiality as a means of increasing the user’s interest and attention; the results could be presented as a journey through time or a visit to a museum. In addition to faceted browsing, crowd science methods and different forms of visualization, there are also 4D animations and natural interaction in virtual spaces to be considered. As a case study, the author presents a current project whose goal is to publish 600 sculptures as 3D scans and to reconstruct historical exhibition contexts in the form of a virtual museum. The knowledge acquired in the process can serve as a basis for future approaches in which search queries are visualized in archaeological databases as fully virtual museums.

- by Martin Langner
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- Archaeology, Web Design, Digital Archaeology, Interactive and Digital Media
- by piotr zawojski
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- Cyberculture, Virtual Museums, New Media & Digital Arts, Cyberkultura

The article focuses on the case of "Episodes in Matter" artworks created by the Greek Contemporary Artist, Rena Papaspyrou. As far as her artworks΄ conservation is concerned, will certainly occupy
in the near future, contemporary art conservators.Her intent and statement provide Information and art records left are of extreme importance. During interviewing the artist has explained to the author the ways she had used the strappo detachment tecnique, adopted by the wall-painting conservators of 60s: as to face old walls, detach and remove old walls from abandoned houses from Athens and use them as surfaces where ink, pencil or colors were applied so as to enhance an artistic story-telling.

- by Konstantinos Stoupathis
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- Art Theory, Conservation, Contemporary Art, Visual Arts
- by Nicolo' Dell'Unto and +1
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- Virtual Archaeology, Virtual Worlds, Virtual Museums, Via Appia, Primo Miglio

Il tema della trasformazione dei musei e più in generale della comunicazione dell'heritage richiede oggi una ridefinizione teorica della missione, coerente con la rivoluzione delle reti. E una sperimentazione coerente di nuovi modelli,... more

The interest in the development of virtual museums is nowadays rising rapidly. During the last decades there have been numerous efforts concerning the 3D digitization of cultural heritage and the development of virtual museums, digital libraries and serious games. The realistic result has always been the main concern and a real challenge when it comes to 3D modelling of monuments, artifacts and especially sculptures. This paper implements, investigates and evaluates the results of the photogrammetric methods and 3D surveys that were used for the development of a virtual museum. Moreover, the decisions, the actions, the methodology and the main elements that this kind of application should include and take into consideration are described and analysed. It is believed that the outcomes of this application will be useful to researchers who are planning to develop and further improve the attempts made on virtual museums and mass production of 3D models.

Pensando na necessidade de valorizar a
bagagem cultural e preservar a memória dos
brasileiros que vivem no exterior, foi proposto no
ano de 2013 um projeto66 para a criação do Museu
Virtual de Brasileiros e Brasileiras no Exterior. O
projeto tratou de construir um Ponto de Memória no
exterior, através da construção de uma plataforma
virtual interativa (http://memoria.eu.org), que reúne
depoimentos audiovisuais e outros arquivos digitais
enviados pelo próprio público. Durante o processo de
criação do Museu foram investigados vários
conceitos, alguns dos quais serão expostos no
decorrer deste artigo.

- by Celina Lage
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- Museology, Curation (Art), Virtual Museums, ARTE E TECNOLOGIA