gvam - Jose Luis Pajares on Diigo

11 Jun 08

Museums and the Web 2007: Papers: Van Loon, et al., Supporting Social Interaction: A Collaborative Trading Game On PDA

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gvam museum guide pda gaming social

17 Apr 08

Service Robot enon from Fujitsu Acts as Visitors' Guide at Museum of Best-Selling Mystery Novelist

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gvam PhD museum robot guide

When visitors arrive, enon will autonomously move toward the entrance, and by using voice and gestures along with the LCD
screen on its chest, enon will provide commentary and guide visitors through the exhibits.

02 Apr 08

Augmented Representation of Cultural Objects

Rellenando con virutalidad aquello que no ha soportado el paso del tiempo...

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3d culture gvam museum research tourism virtual web augmented reality

27 Mar 08

MERGING AUGMENTED REALITY BASED FEATURES IN MOBILE MULTIMEDIA

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guide gvam museum tourism augmented reality

25 Mar 08

scalex

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guide gvam locative mobile museum tourism

SCALEX displays synchronised media on visual, acoustical and interactive devices
in exhibition premises. The media are part of multidimensional knowledge spaces,
which are either shown visually or will influence the user interaction with
a digital object. Visitors and guides can interact with a specified set of the
information objects via rules that dynamically control the interaction with
the information display. The architecture enables these rules to be specified
and to select the objects and classes of objects that are displayed.

The PEACH (Personal Experience with Active Cultural Heritage)

Tienen un vídeo descriptivo la guía.

www.cri.haifa.ac.il/index.html - Preview

audiovisual guide gvam museum

Archives & Museum Informatics: Museums and the Web 2005: Papers: Proctor, Providing Deaf and Hard-Of-Hearing Visitors With On-Demand, Independent Access To Museum Information and Interpretation Through Handheld Computers

www.archimuse.com/...proctor.html - Preview

bibliography gvam

The deaf visitor, like any visitor, has after all
come to the museum or gallery to see its collections and exhibitions,
not to watch signed television on a very small screen!
The negotiation of these three elements – the exhibit, the interpretation,
and the visitor – requires careful structuring of content in the
Sign Language Guide. Generally speaking, the Sign Language Guide should
never stand on its own: it should always bring the visitor back to the
exhibit, never being complete without that direct experience of the
object(s) in the space
18 more annotations...
- Because of the prevalence of sign language dialects, some deaf visitors
  cannot rely on signing alone, even when using their national sign language:
  for example, the British Sign Language sign for 'Saturday' differs between
  London and neighboring Essex, so even understanding opening dates can
  be a challenge!
- A simple narration may be
  best, eliminating background music and other audio elements that may
  make the narration less intelligible
- Best Practice in Access Guide Design for Deaf and Hard-of-hearing
  Visitors
- At Tate Modern the wireless network in the galleries serves any of three
  tours to the same stock of PDAs, and can also be used by Tate staff
  for back-office and administrative purposes.
- The difference in length and structure between
  sign language and written languages also means that in order to guarantee
  logical synchronization, the Sign Language Guide's subtitles are generally
  a translation from the sign language, rather than a simple reuse of
  the original text script.
- The BSL tour included many of the interactive and multimedia features
  developed for the Multimedia Highlights Tour, such as games and instant
  messaging. Visitors taking either tour could send each other text messages
  in the gallery, and request further information about the art they had
  seen to be sent to their home e-mail addresses. These features encourage,
  via Tate's Web site, both a sense of community and exchange of ideas
  among visitors, and a continuation of the in-gallery experience after
  the visitor has left their home or school.
- Likewise, the Glossary function
  was a significant support to achieving greater fluency in art terminology
  and concepts
- 79% reported that the tour had improved their visit; 6% indicated no
  change; 1% reported that the tour had made the visit worse; and 14%
  did not respond to this question
- 84% of visitors who come once or twice a month would
  come more often if there were a permanent Sign Language Guide, while
  78% of those visiting once or twice a year and 74% of first-time visitors
  would return more often
- In addition, Tate commissioned an independent evaluator,
  Susie Fisher, to carry out research on the Multimedia Highlights Tour
  for hearing visitors and the BSL Multimedia Tour during December 2003
- The goals of the focus group were:
  
  To identify how the Multimedia Tour works within a gallery visit
  Groups/individuals
  
  Navigation
  To assess the ease of use of the equipment and programme design
  
  Interface
  
  Menu options
  
  To observe how the menu of options is used in practice
  Triggers to try options
  
  Experimental or personal usage profile
  Likes and dislikes
  To understand how content options are perceived at each stop
  
  Intellectual level
  
  Serious or entertaining
  
  Interactive or information-giving
  
  To understand how the Multimedia Tour impacts the visitor's engagement with
  the works
  
  Depth, learning
  
  Stimulation
  
  To explore future directions for the PDA
  
  Gaming
  
  Downloading
  
  Personalised content
  
  Database access
- "It's good for deaf people to learn new things
  and useful for deaf people to improve their language skills. For example,
  the word 'Impressionists' teaches us how to use that sign."
- he narrator of the BSL Tour is a Tate Modern curator who is a hearing
  person who uses BSL fluently. Several deaf people questioned this choice
  of narrator, feeling that it would be more appropriate to employ a deaf
  person for this task

22 Mar 08

Visual Velcro: Hooking the Visitor

www.aam-us.org/...visualvelcro.cfm - Preview

digital gvam museum

05 Oct 07

Archives & Museum Informatics: International Cultural Heritage Informatics Meeting 2007: Paper: Wakkary, R., et al., Situating Approaches to Museum Guides for Families and Groups

www.archimuse.com/...wakkary.html - Preview

bibliography gvam

“The
challenge here is to design information technologies that help
make new connections for museum visitors” (Bell 2002).
In ec(h)o,
museum visitors held a light wooden cube and were immersed in a soundscape
of natural sounds of and information on the artifacts on display
2 more annotations...
- Visitors navigated the audio options presented to them by rotating the
  cube in their palm in a direction that corresponded to the spatial location
  of the audio they were hearing

04 Oct 07

Each year
approximately 35 million audio tours are distributed in museums, cultural
sites and attractions around the world.
Many
museums will prefer the more minimal approach of audio-only interpretation
that focuses visitor attention upon the work of art and directs the
eye to the artwork, never to the device.
7 more annotations...
- Multimedia represents the most exciting and controversial aspect of
  screen-based players. Looking at this from the content side, while it
  not hard to envision a screen-based experience to complement a science
  museum or natural history museum, the introduction of handheld multimedia
  devices into art museums is decidedly more controversial. Art museums
  represent one of the few places that guarantee an encounter with exquisite,
  original objects. They afford the visitor the opportunity to closely
  observe the hand of the maker and the texture of the materials. Art
  museums are supremely focused on the importance of looking and seeing.
  Should screen based players interfere with this process, they will never
  find acceptance within the galleries.
- This means the screen component should be relatively
  brief and should be bracketed by the instruction on when to look and
  when to look away
- Screen-based systems can also provide remarkable solutions for special
  audiences. As mentioned earlier, visually impaired visitors can adjust
  font size and contrast to enable them to more easily read label and
  wall text. For hearing-impaired visitors, it is possible either to caption
  videos or to provide full-featured sign language guides that translate
  all the audio tracks into an accessible format. A highly successful
  sign language guide is already in place at Tate Modern, and we are currently
  captioning all the in-gallery videos for the Spy Museum.
- The response has been
  nothing less than overwhelming. At the debut of the program, John Wilson,
  Arts Officer for SHAPE, the UK's disability arts organization, gave
  a keynote speech in which he said the Sign Language Guide “…would
  bring access for the deaf in museums out of the dark ages and into a
  golden age of interpretation".
  
  The users that evening made the following comments:
  
  I've always been kind of interested in art but
  never really bothered to go to museums - now I will if they have a BSL
  guide.
  
  I've seen Rothko many times before, but I never
  understood what was going on in those paintings until now - my head
  is so full of information and ideas, it's wonderful!
- As a visitor uses the Science Navigator,
  its personalization engine combines this basic profile information with
  a dynamic record of what objects and information the visitor has experienced
  so far. It also takes into account the visitor’s proximity to
  other objects - both physical and conceptual. The Navigator can then
  intelligently and proactively suggest the visitor’s next steps
  in the tour, adapting the tour automatically to changes in the visitor’s
  route or interests as required.
- I have ever encountered in a
  museum tour. In my own assessment I felt 20 seconds was the minimum,
  45 seconds the upper limit and 30 seconds about right. This is a major
  deviation from our position 10 years ago when 90 seconds was assumed
  to be the average length for an audio tour message. Interestingly,
  even though the 20-second messages seemed short, they were beautifully
  composed and left me motivated to learn more.
- At the end of each gallery sequence, a message will play to
  suggest the visitor spend as much time as desired looking at these or
  other objects in the gallery, and then move on to the next gallery when
  ready

Jose Luis Pajares's Library tagged gvam → View Popular

Museums and the Web 2007: Papers: Van Loon, et al., Supporting Social Interaction: A Collaborative Trading Game On PDA

Service Robot enon from Fujitsu Acts as Visitors' Guide at Museum of Best-Selling Mystery Novelist

Augmented Representation of Cultural Objects

MERGING AUGMENTED REALITY BASED FEATURES IN MOBILE MULTIMEDIA

scalex

The PEACH (Personal Experience with Active Cultural Heritage)

Archives & Museum Informatics: Museums and the Web 2005: Papers: Proctor, Providing Deaf and Hard-Of-Hearing Visitors With On-Demand, Independent Access To Museum Information and Interpretation Through Handheld Computers

Visual Velcro: Hooking the Visitor

Archives & Museum Informatics: International Cultural Heritage Informatics Meeting 2007: Paper: Wakkary, R., et al., Situating Approaches to Museum Guides for Families and Groups

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A+ Multimedia - It's About The Experience

Museums and the Web 2004 : Papers : Tellis, Multimedia Handhelds ...

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