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ABSTRACT Reconstructing and processing 3D objects are activities in the research field of computer graphics, image processing and computer vision. The 3D objects are processed based on geometric modelling (a branch of applied mathematics and computational geometry) or machine learning algorithms based on image processing. The computation of geometrical objects includes processing the curves and surfaces, subdivision, simplification, meshing, holes filling or reconstructing the 3D surface's objects on both point cloud data and triangular mesh. While the machine learning methods are developed using deep learning models. With the support of 3D laser scan devices and LiDAR techniques, the obtained dataset is close to the original shape of the real objects. Besides, photography and its application based on modern techniques in recent years help us collect data and process the 3D models more precisely. This article proposes a new method for filling holes on the 3D object's surface based on automatic segmentation. Instead of filling the hole directly as the existing methods, we now subdivide the hole before filling it. The hole is first determined and segmented automatically based on the computation of its local curvature. It is then filled on each part of the hole to match its local curvature shape. The method can work on both 3D point cloud surfaces and triangular mesh surfaces. Compared to the state‐of‐the‐art (SOTA) methods, our proposed method obtained higher accuracy of the reconstructed 3D objects. [ABSTRACT FROM AUTHOR]

A scientific method for evaluating the design of interfaces is proposed to address the unique characteristics and user needs of infrequent-contact public service interfaces. This method is significant for enhancing service efficiency and promoting the sustainable development of public services. Current interface evaluation methods are limited in scope and often fail to meet actual user needs. To address this, this study focuses on virtual museums, examining users' aesthetic psychology and cognitive behavior in terms of layout aesthetics and visual cognitive characteristics, aiming to explore the relationship between the two. Interface layout aesthetic values and user visual cognitive measurements were obtained by using computational aesthetics methods and eye-tracking experiments. These served as input data for a new model. An improved gray H-convex correlation model utilizing the ICRITIC method is proposed to examine the mapping relationship between interface layout aesthetics and visual cognitive features. The results demonstrate that our new model achieves over 90% accuracy, outperforming existing models. For virtual museum interfaces, symmetry and dominance significantly influence user visual cognition, with the most notable correlations found between density and gaze shift frequency, simplicity and mean pupil diameter, and order and gaze shift frequency. Additionally, fixation duration, fixation count, and mean pupil diameter were inversely correlated with interface layout aesthetics, whereas gaze shift frequency and gaze time percentage were positively correlated. [ABSTRACT FROM AUTHOR]

Tourism is an excellent pathway with which to promote and provide access to cultural heritage. Sustainable cultural tourism offers a new perspective, as it places cultural heritage and local communities at the centre of decision-making processes. In this context, traditional tourism must be updated accordingly to the new times. This research aims to classify a cultural heritage piece found in the ruins of what used to be the Castle of Montilla, and produce a 3D virtual model using innovative technologies, to be appreciated in the metaverse, as a virtual museum. The idea of tourism as a real movement of people should be shifted little by little to an idea of connection without the need of being there exactly. This research succeeded with this idea. A 'perfume burner', catalogued as a lamp, and currently located in the medieval section of the Local Historical Museum of Montilla (Cordoba, Spain), was virtually reconstructed. In the attainment of these physical subjects transferred to the metaverse, photogrammetry played a crucial role. Obtaining a 3D digital model of a heritage asset enables the public in general, present and non-present visitors, to appreciate such cultural pieces. In this context, tourist agents and resources might be changed and updated to bring tourist services and clients. The metaverse is paramount in creating virtual museums, providing the possibility of establishing connections with people without the need to be physically in a certain place. The virtual museum leverages digital technology to promote sustainability by reducing travels and minimising the environmental impact. To date, this research enhances the experiences of the users at the local museum. [ABSTRACT FROM AUTHOR]

Musical cultural heritage, as an important component of cultural heritage, possesses significant cultural value and inheritance significance. With the development of society and the passage of time, these precious traditional musical cultural heritages inevitably face the dilemma of gradual depletion or even disappearance. In the digital age, effectively protecting and inheriting these musical cultural heritages has become an urgent problem to be addressed. Therefore, this paper proposes an application method based on digital twin technology, exploring how to protect and inherit musical cultural heritages through digital twin technology. By leveraging digital twin technology, a virtual museum dedicated to showcasing the richness and historical connotations of music cultures is created, preserving and simulating the soundscapes of historical music eras. Through the integration of audio archives, 3D modeling, and interactive displays, users can immerse themselves in the experience of historical music in the digital space. This paper evaluates the feasibility and cultural preservation value of this digital music history museum through the creation of music digital twin technology instances and user survey feedback and discusses the prospects of digital twins in the field of musical cultural heritage. [ABSTRACT FROM AUTHOR]

Abstract The design and implementation of virtual museums have evolved over decades, broadening the scope of traditional museum exhibitions and serving as an effective complement to physical museums. However, virtual visual effects have consistently fallen short of replicating the authentic exhibition experience and cannot substitute for physical museums. In this paper, we report a dual-mode mixed visualization system combining computational photography and binocular stereo vision techniques, and introduce an innovative virtual museum for Sanxingdui bronzes. This approach enables visitors to engage with the artifacts in a multifaceted manner-allowing for navigation, interaction, auditory guidance, and the examination of textural details as if handling the artifacts directly. Further analysis of participant responses in terms of visual cognition and aesthetic appreciation across different settings demonstrates that this dual-mode mixed visualization delivers not only a spatiotemporal experience consistent with the real world but also surreal visual effects. This immersive experience allows audiences to experience Sanxingdui art intimately, offering both high-resolution visuals and cost-effectiveness.

Virtual reality (VR) is increasingly employed in various domains, notably enhancing learning and experiences in cultural heritage (CH). This study examines the effects of gamified and non-gamified VR experiences within virtual museum environments, highlighting the concept of a digital twin and its focus on cultural heritage. It explores how these VR modalities affect visitor motivation, engagement, and learning outcomes. For this purpose, two versions were developed: a gamified virtual reality version incorporating interactive gaming elements like achievements, profiles, leaderboards, and quizzes and a non-gamified virtual reality version devoid of these elements. This study, using an experimental design with 76 participants (38 in each group for the gamified and non-gamified experiences), leverages the Wieng Yong House Museum’s digital twin and its fabric collection to assess the educational and experiential quality of virtual museum visits. The findings indicate that while gamification significantly boosts the reward dimension of visitor engagement, its influence is most pronounced in the effort dimension of motivation; however, its impact on learning outcomes is less marked. These insights are instrumental for integrating VR and gamification into museum environments.

The design and implementation of virtual museums have evolved over decades, broadening the scope of traditional museum exhibitions and serving as an effective complement to physical museums. However, virtual visual effects have consistently fallen short of replicating the authentic exhibition experience and cannot substitute for physical museums. In this paper, we report a dual-mode mixed visualization system combining computational photography and binocular stereo vision techniques, and introduce an innovative virtual museum for Sanxingdui bronzes. This approach enables visitors to engage with the artifacts in a multifaceted manner-allowing for navigation, interaction, auditory guidance, and the examination of textural details as if handling the artifacts directly. Further analysis of participant responses in terms of visual cognition and aesthetic appreciation across different settings demonstrates that this dual-mode mixed visualization delivers not only a spatiotemporal experience consistent with the real world but also surreal visual effects. This immersive experience allows audiences to experience Sanxingdui art intimately, offering both high-resolution visuals and cost-effectiveness. [ABSTRACT FROM AUTHOR]

Virtual reality (VR) is increasingly employed in various domains, notably enhancing learning and experiences in cultural heritage (CH). This study examines the effects of gamified and non-gamified VR experiences within virtual museum environments, highlighting the concept of a digital twin and its focus on cultural heritage. It explores how these VR modalities affect visitor motivation, engagement, and learning outcomes. For this purpose, two versions were developed: a gamified virtual reality version incorporating interactive gaming elements like achievements, profiles, leaderboards, and quizzes and a non-gamified virtual reality version devoid of these elements. This study, using an experimental design with 76 participants (38 in each group for the gamified and non-gamified experiences), leverages the Wieng Yong House Museum's digital twin and its fabric collection to assess the educational and experiential quality of virtual museum visits. The findings indicate that while gamification significantly boosts the reward dimension of visitor engagement, its influence is most pronounced in the effort dimension of motivation; however, its impact on learning outcomes is less marked. These insights are instrumental for integrating VR and gamification into museum environments. [ABSTRACT FROM AUTHOR]

In recent years, the digitization of cultural heritage has been favored by significant advancements in specific technologies, such as photogrammetry and three-dimensional scanning. The digital representations of artifacts, paintings, books, and collections, as well as buildings or archaeological sites, has led to the transfer of cultural organizations to the digital space. On the other hand, the rapid development of immersive technologies and the Internet of Things is expected to decisively shape virtual cultural heritage in the coming years. However, this digital transition should expand its impact on most of the population. This article aims to cover the lack of structured methodology in the design and development of inclusive virtual spaces in cultural heritage. This research introduces a holistic framework that is mainly based on the disciplines of virtual museology. The proposed methodology takes into account the advancements in extended reality and the creative industry of computer games. The multisensory approach would lead to advanced immersive experiences, while the multilayered approach of cultural heritage content would enhance accessibility in inclusive virtual spaces. Moreover, this holistic framework could provide evidence from the virtual worlds that could be applied to real cultural heritage organizations. [ABSTRACT FROM AUTHOR]

Copyright of Sport & Tourism Central European Journal / Sport i Turystyka Srodkowoeuropejskie Czasopismo Naukowe is the property of Jan Dlugosz University in Czestochowa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Over the past decade, virtual museums have rapidly evolved due to technological advancements, and after the COVID-19 disruption grew in importance, this sustained the innovation of storytelling and the digital transformation of touristic practices. This paper presents the outcomes of a cooperation project: a virtual museum for eight ports in the Adriatic area, constituting notable examples of widespread heritage. The platform Adrijo is a multi-scalar, multilayer virtual museum that leverages the concept of geo-storytelling and e-tourism, also applying two augmented reality technologies for site-specific installations. In addition to the project results, an assessment of the different levels and experiences is provided, based on qualitative and qualitative analysis. As a re-usable resource, the technical tender specification from the methodological work package is presented, encompassing details of the technology, structure, functionalities, costs, timing for realization, and accessibility for disabled people. This paper proposes, through the critical analysis of the VM, a methodology that can be reused in other contexts, also providing toolkits for both its implementation and user satisfaction surveys, as well as for analyzing the strengths and weaknesses of some specific examples. The goal of the present research is thus to establish a consolidated methodological framework for designing, developing, implementing, and assessing a virtual museum, fully featured with 3D models and augmented reality technologies. [ABSTRACT FROM AUTHOR]

The article justifies the expediency of training specialists in the field of tourism by means of museum virtualization. It is emphasized that the development of modern information technologies shapes the theory and practice of electronic education. Various definitions of the term ‘virtual museum’, types of virtual museums, criteria for their classification, reasons for popularity, and the history of their development are partly presented. It is emphasized that virtual museums are characterized by structural and functional diversity and are of great importance for the development of cultural tourism. The results of a student survey are presented, confirming the feasibility of using virtual tours in the educational process: it is interesting for students, increases the level of mastery of professionally-oriented knowledge and skills, promotes the development of a sustained in-depth interest in communication with museum objects, the development of creative abilities, the formation of media competences. It is shown that virtual museums provide an opportunity to fill the learning process with new interesting content through the use of modern Internet technologies.

Over the past decade, virtual museums have rapidly evolved due to technological advancements, and after the COVID-19 disruption grew in importance, this sustained the innovation of storytelling and the digital transformation of touristic practices. This paper presents the outcomes of a cooperation project: a virtual museum for eight ports in the Adriatic area, constituting notable examples of widespread heritage. The platform Adrijo is a multi-scalar, multilayer virtual museum that leverages the concept of geo-storytelling and e-tourism, also applying two augmented reality technologies for site-specific installations. In addition to the project results, an assessment of the different levels and experiences is provided, based on qualitative and qualitative analysis. As a re-usable resource, the technical tender specification from the methodological work package is presented, encompassing details of the technology, structure, functionalities, costs, timing for realization, and accessibility for disabled people. This paper proposes, through the critical analysis of the VM, a methodology that can be reused in other contexts, also providing toolkits for both its implementation and user satisfaction surveys, as well as for analyzing the strengths and weaknesses of some specific examples. The goal of the present research is thus to establish a consolidated methodological framework for designing, developing, implementing, and assessing a virtual museum, fully featured with 3D models and augmented reality technologies.

The Petralona Cave, which local inhabitants discovered by chance in 1959, is a remarkable natural and cultural landmark close to the village of Petralona, in the Chalkidiki peninsula of Greece. The site has gained global recognition for the discovery of a remarkably well-preserved Palaeolithic human skull, unearthed in 1960; it also holds archaeological and palaeontological significance. In this paper, the researchers introduce the Petralona Cave Virtual Museum: an innovative project whose mission is to increase public awareness and comprehension of the site. Our approach goes beyond mere replication of the physical museum located close to the cave; instead, the objective is to create an independent and comprehensive experience that is accessible to all visitors, irrespective of their ability to visit the site in person. Our methodology involved the documentation of the site and its history, analysis of user requirements, development of use cases to steer the design process, as well as architectural designs creation, itineraries and findings digitisation, and architectural structure finalisation. The Virtual Museum provides a well-organised frame structure that serves as an efficient gateway to the content, making navigation easy for visitors. Thanks to various presentation methods, including videos, high-quality images, interactive maps, animated content, interactive 3D models, plus searchable item libraries, among others, users are empowered to create a highly personalised navigation plan; thus the Virtual Museum experience is comparable to visiting the physical museum or cultural site. Cutting-edge digitisation techniques were employed to create highly detailed 3D models of the site. The Petralona Cave Virtual Museum is expected to offer an immersive experience, engaging diverse audiences; the interactive and educational exploration provides highly innovative access to archaeological knowledge. The visibility of the Petralona site is amplified and there is a significant contribution to knowledge dissemination about this important cultural heritage site.

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the possibilities of applying immersive technologies for the preservation of cultural heritage, using their implementation in various museums as an example. A classification of images using machine learning methods was carried out on a small number of exhibits from the A. Kasteev Museum (Almaty, Kazakhstan), achieving high accuracy. Different aspects of implementing a mobile application for the museum with an integrated exhibit recognition system were examined. Directions for further research were identified. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Computer Sciences Institute is the property of Lublin University of Technology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Ibero-Americana de Ciência da Informação is the property of Revista Ibero-Americana de Ciencia da Informacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Over the past decade, virtual reality has been quickly growing in popularity across disciplines including the fields of archaeology and cultural heritage. Despite numerous artifacts being uncovered each year by archaeological excavations around the world, only a select few are displayed and recorded in museums while the rest remain hidden away in storage facilities. The creation of virtual reality museums provides a potential solution to this problem. This project aims to optimize a computational workflow for digitally documenting these artifacts and designing virtual museum spaces for them to be displayed online. This project focuses on a selection of the most representative artifacts that have been conserved and restored from the Necropolis of Baley collection of burial vessels from Bulgaria. The prehistoric settlement of Baley dates to the Bronze and Early Iron Age in the Middle and Lower Danube Basin and the collection thus far includes over 450 burial artifacts. Through the use of photogrammetry and 3D scanning, photorealistic 3D models were created and used as the basis of a virtual exhibition to showcase this important collection to the public and scientific community that can easily be shared online. A comparison of the 3D results from the photogrammetry and the 3D scanner was conducted to determine the optimal workflow for large-scale documentation of archaeological artifacts. This project showcases the applications of integrating documentation techniques in an online environment in order to showcase important collections to the public in an interactive way to promote cultural heritage to the public that may otherwise be unavailable.

Kültürel mirasın aktarılmasında önemli rol oynayan müzeler, dijitalleşmeyle birlikte gerçek ortamın yanı sıra çevrimiçi ortamlarda da faaliyet göstermektedir. Özellikle deneyimsel pazarlama alanındaki çalışmalar dikkate alındığında çevrimiçi ortamda bulunan ve sanal müze olarak tanımlanan web sitelerinin, müze ziyaretçi deneyimi unsurlarına etki eden tasarım faktörleri bağlamında değerlendirilmesi bu çalışmanın ana temasını oluşturmaktadır. Tanımlayıcı (betimleyici) araştırma modeli ile gerçekleştirilen çalışmada, dijitalleşmenin etkisinde dönüşüm geçiren müzelerin web sitelerinde karşımıza çıkan sanal müze olgusu ve kullanıcı/ziyaretçi deneyimi kavramlarına yönelik literatür taraması aktarıldıktan sonra, deneyime yönelik boyutlar ve kullanıcı memnuniyeti yüksek internet sitesi tasarım unsurlarına yönelik boyutlar karşılaştırmalı bir içerik analizi ile incelenmiştir. Analize tabi tutulan sanal müzeler web sitesi analizinde deneyimli beş araştırmacı tarafından; etkileşimlilik, uyarlama/kişiselleştirme, sanal müze tasarım unsurları ve estetiği, güvenlik ve kişisel gizlilik ile bilgi, eğitim ve eğlence unsurlarının sunumu olmak üzere beş ana kategoride değerlendirilmiştir. Amaçlı örneklem yöntemi kullanılan araştırmada Türkiye’den ve dünyadan kamuya açık olarak faaliyet gösteren sanal müze web siteleri ele alınmıştır.

Museum engagement may be an effective approach for decreasing social disconnection and pain among individuals living with chronic pain. In October 2019, we launched a randomized controlled trial to assess the feasibility of museum engagement for individuals living with chronic pain; the study was halted in March, 2020 due to Covid-19-related safety concerns. This paper describes the process of transitioning from in-person to virtual museum programing in order to continue the study. Virtual museum programing is a feasible option for individuals living with chronic pain that is amenable to research and which may improve accessibility, inclusivity, and scalability relative to in-person programing.

A scientific method for evaluating the design of interfaces is proposed to address the unique characteristics and user needs of infrequent-contact public service interfaces. This method is significant for enhancing service efficiency and promoting the sustainable development of public services. Current interface evaluation methods are limited in scope and often fail to meet actual user needs. To address this, this study focuses on virtual museums, examining users’ aesthetic psychology and cognitive behavior in terms of layout aesthetics and visual cognitive characteristics, aiming to explore the relationship between the two. Interface layout aesthetic values and user visual cognitive measurements were obtained by using computational aesthetics methods and eye-tracking experiments. These served as input data for a new model. An improved gray H-convex correlation model utilizing the ICRITIC method is proposed to examine the mapping relationship between interface layout aesthetics and visual cognitive features. The results demonstrate that our new model achieves over 90% accuracy, outperforming existing models. For virtual museum interfaces, symmetry and dominance significantly influence user visual cognition, with the most notable correlations found between density and gaze shift frequency, simplicity and mean pupil diameter, and order and gaze shift frequency. Additionally, fixation duration, fixation count, and mean pupil diameter were inversely correlated with interface layout aesthetics, whereas gaze shift frequency and gaze time percentage were positively correlated.

At present, there are problems of insufficient conservation and heritage and single display channels in the field of museums. In the background of digital era, innovative new museum display mode and interaction mode can bring new exhibition experience for visitors. In this paper, we study the key technologies such as 3D scene visualization, facility and equipment simulation, and human-computer interaction simulation. Based on virtual reality and augmented reality, somatosensory interactive digital technologies, an interaction engine under multiple classifiers is proposed, an online virtual museum design strategy is built, and an all-round, multi-angle, three-dimensional interactive museum display platform is constructed. A quantitative analysis method based on the policy consistency index model is proposed to conduct user measurement and post-use evaluation of the conceived virtual museum. The application results show that the design platform can intuitively display the complex environment of an intelligent digital museum, support the development of immersive virtual roaming and virtual touch, and provide a new way to visit a new type of interactive museum.

Copyright of Journal of Computer Sciences Institute is the property of Lublin University of Technology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Ibero-Americana de Ciência da Informação is the property of Revista Ibero-Americana de Ciencia da Informacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The cultural heritage sector increasingly integrates augmented and virtual reality (VR) solutions to meet dissemination and interpretation needs for its collections. As research in the field grows, the required entertainment and learning impacts of such applications are rising. This study presents a VR museum that aims to facilitate an understanding of cultural heritage. More specifically, an exhibition was designed, curated and developed in a VR environment based on a framework that encourages the public’s interaction with the artworks and experiential learning through activities that utilize VR functionalities in a meaningful way. This framework was applied in a contemporary art museum where the description of artistic concepts is not always obvious to the general public due to the abstract forms of the artworks or the particularities of different artistic movements. This paper focuses on the application development and three user experience evaluations (museum experts, technical experts and general audience). The results were positive regarding the perceived sense of control, usability and the feelings of the user, including their sense of entertainment. Additionally, the participants valued the educational value of the developed activity types and their usefulness. Moreover, the users were interested in exploring the cultural heritage content available in the exhibition, and they would suggest the application to colleagues or friends.

Many researchers in the field of cultural heritage point to the justification of the use of extended reality to present digital heritage. Research studies, but mainly user reactions, have responded to experiences with extended reality with a positive response. Technological research in the field of extended reality is advancing rapidly. In this review, we will cover the current possibilities and trends of extended reality. Specifically, we will focus on the application in creating interactive multimedia exhibitions in museums and galleries and presenting 3D digital heritage. We believe the practical examples shown will be an inspiration for application developers, content creators, and exhibition curators. Awareness of the possibilities and limits of the current state of technological progress is an essential requirement for utilisation of the full potential of extended reality.

This study revolves around primary and secondary school visual arts teachers’ cultural and critical readings on their VR museum experience through object and representation. As part of the in-service training and research project, the study was carried out in the provinces of Çanakkale, Erzincan, Kayseri, Diyarbakır, Giresun, Mersin, Denizli, which were selected from seven regions of Turkey within a seven-month period. 508 primary and secondary school visual arts teachers participated in the study. The study is a case study and teachers’ readings related to the object and representation in the virtual museum and their VR museum experiences formed the units of analysis in the study. The data of the study was collected through worksheets, pre-evaluation forms, participant diaries and focus group interviews with voluntary teachers and content analysis method was employed to analyse the data. In the study, teachers were motivated to incorporate social and personal contexts into their readings of the object-space-representation. The results denoted that the activity enhanced teachers’ learning experiences in terms of personal and professional contexts. Although teachers highlighted that VR museum experiences could not offer much more rich experiences than the actual museum visits, they believed that it could be effective for visual arts classes and be blended with various learning activities given that the virtual museum experience offers the possibility of exploring a museum without a barrier of distance and incite enthusiasm and learning interest through digital technologies (e.g., sound, motion, immersive experience).

The article covers researching the virtual museum as a form of archaeological heritage digital museumification. Based on the Russian experience in creating archaeological information resources on the Internet, new opportunities to preserve and update archaeological heritage through digital museumification are presented. The authors consider modern approaches to define the notion of “virtual museum” and raise the question of criteria applied to assign an information resource to the virtual museum. Axiological, social and media spaces are identified within the structure of cultural space of the virtual museum. Based on the criterion of dominance of certain hypertext properties – fragmentarily or integrity – the most popular current patterns of virtual museum space arrangement (architectonics) are identified: virtual collection and virtual tour. It is noted that virtual museum space reflects the changes occurring in museum space as a whole and at the same time manifests them most vividly due to its capabilities. Virtual museums become self-sufficient.

The paper presents a process of testing a created virtual reality application for displaying the "Hujra", a room for students of the 17th century madrassa in the area of the Silk Road, together with interactive objects. The designed 3D objects had sufficiently small file sizes to be introduced into virtual reality, and the fully mobile application worked effectively using smartphones within the price group available to the average user. The application was presented to a group of students and researchers from Kyrgyzstan. In addition, objects not belonging to the Islamic culture were introduced into the students' room. Pilot tests confirmed the usefulness of the proposed solution of 3D modelling. Interviews with the participants of the experiment and the results of a survey showed that the virtual reality application was a very attractive form of presentation, especially for people belonging to Generation Z. The combination of the complexity of the project and its high availability via smartphones was considered a successful solution by those questioned.

Highlights: • Despite being a transcendental cultural manifestation in the history of humanity, there are hardly any open-access virtual repertoires of Palaeolithic art. • The numerous photogrammetric studies carried out in successive archaeological campaigns to answer scientific questions can be used in educational and dissemination projects. • In the framework of the authors’ outreach project called "PaleoArt-3D: regreso al pasado" a virtual museum has been created to make Palaeolithic art a more accessible and democratic heritage. Abstract: Palaeolithic art is a cultural manifestation of great importance to understanding the early history of our species. Through this artistic phenomenon, one can study aspects such as long-distance contacts, evidence of learning or the perception with which Palaeolithic humans were able to execute and memorise such precise details. However, there are few virtual repertoires that offer collections of Palaeolithic art. Accessibility to this type of archaeological remains is even more difficult considering conservation is prioritised over tourist visits. For these reasons, Palaeolithic art is today a type of cultural asset that is largely unknown to the population. The project "PaleoArt-3D: regreso al pasado" was created with the aim of democratising this heritage and making it more accessible. To this end, a virtual museum has been developed to exhibit digital models of parietal and portable art with complementary annotations for each one. The methodology includes a first stage dedicated to digitising examples of Palaeolithic art in caves or open-air stations and exhibited in Spanish and French museums. Next, the necessary infrastructure was designed to house the exhibition using specific software such as Blender. Post-processing tasks were carried out to reducing the number of polygons without losing quality. Finally, the museum has been uploaded to the Sketchfab platform to make it freely available online. It is hoped that this virtual museum will contribute to promoting and creating a more significant number of digital resources related to Palaeolithic art that are easily accessible to the public.

The cultural heritage sector increasingly integrates augmented and virtual reality (VR) solutions to meet dissemination and interpretation needs for its collections. As research in the field grows, the required entertainment and learning impacts of such applications are rising. This study presents a VR museum that aims to facilitate an understanding of cultural heritage. More specifically, an exhibition was designed, curated and developed in a VR environment based on a framework that encourages the public's interaction with the artworks and experiential learning through activities that utilize VR functionalities in a meaningful way. This framework was applied in a contemporary art museum where the description of artistic concepts is not always obvious to the general public due to the abstract forms of the artworks or the particularities of different artistic movements. This paper focuses on the application development and three user experience evaluations (museum experts, technical experts and general audience). The results were positive regarding the perceived sense of control, usability and the feelings of the user, including their sense of entertainment. Additionally, the participants valued the educational value of the developed activity types and their usefulness. Moreover, the users were interested in exploring the cultural heritage content available in the exhibition, and they would suggest the application to colleagues or friends. [ABSTRACT FROM AUTHOR]

In recent decades, a growing number of museums have adopted digital media, both as an enhancement of exhibitions of real artifacts and as an alternative to traditional display methods. The digital acquisition of artifacts generates accurate 3D replicas that can be displayed via different digital media. With an increase in immersive technologies in the cultural heritage (CH) domain, it is common to see digital artifacts presented in Virtual Reality (VR) and Augmented Reality (AR). This paper presents two user studies conducted in different locations evaluating the use of an AR application in the portrayal of the Mjällby Crucifix artifact. This paper presents the overall results from both user studies evaluating and discussing the AR application on a number of different aspects on a 7-point Likert scale: (1) understanding the artifact, (2) ease of use, (3) object feeling part of reality, (4) perceived visual quality of the object, (5) overall satisfaction experience, and (6) willingness to download the AR application. The results have been compared between genders, age groups, and previous experience with AR. Potential benefits and disadvantages of AR experiences in the context of a museum exhibition were also gathered in free text from the visitors.

The large-scale pandemic caused by Covid-19 forced long vacations and the unstable situation in the country has raised one of the global problems of education - quality educational content. Formulation of the problem. World culture of the XXI century exists in a dynamic environment that is rapidly evolving in all areas of human activity. Information and communication technologies have a significant impact on socio-cultural processes. At the same time, the concept of «virtuality» is firmly in the context of culture, education, and business. One of the important innovations that have taken a significant place in cultural life is a phenomenon such as a virtual museum. Materials and methods. We used the following methods to achieve the goal of the study: systematic and comparative analysis of pedagogical, psychological, philosophical, sociological works, methodological and specialized literature; analysis of the pedagogical experience of using virtual museums of the education in general secondary education institutions; questioning teachers about their experience of using virtual museum in the educational process, identifying problems for the creation of special webinars and courses to develop digital competence of teacher; interpretation of research results. Results. The use of virtual museums in the educational process makes it possible to effectively solve the following basic didactic tasks: ensuring the scientific nature for students'education mastery of scientific knowledge and promoting the formation of a democratic worldview in them that based on credible scientific facts and corresponds to the dynamics of of relevant scientific knowledge development; strengthening the clarity of learning as a principle of didactics, due to the nature of the process of cognition, which begins with sensory perception, moves to abstract thinking, and from it to practice; development of student’s cognitive interests and abilities as a principle of didactics, which determines the most important motives for student learning (formation of cognitive interests occurs through two ways: through the material that constitutes the content of learning and organization of students cognitive activity); the use of virtual museums can affect students' visual and auditory memory; accelerating the pace of learning and memorizing learning material, which contributes to the strength of knowledge, expanding the cognitive interests of students; the intensification of students' independent work; the connection between theory and practice, which necessitates the reflection of two inextricably linked aspects of a single education process; individualization of learning. Conclusions. The virtual museum makes it possible to significantly supplement, expand, and deepen the content of the material studied in the curriculum. Using virtual museums, the teacher can best select educational material. Virtual museums allow in the simplest, most intelligible, and emotional way to transfer educational material, significantly enhance the mental activity of students, expand their worldview, and arouse special interest in a particular field of knowledge. For the use of virtual museums in the educational process to promote the development and formation of cognitive interests of students, the teacher must: select information to be presented with the help of virtual museum, by content and compose it in a composition so that it corresponds to the purpose, age, knowledge, and interests of students; the use heuristic methods in teaching educational material with the help of virtual museum; to organize by the specific interests of students various forms of independent work with the use of virtual museum (preferably in the form of educational projects).

Digitization of Cultural and Museum Heritage represents one of the most engaging challenges that would ensure a sustainable and ethical approach for next generations; digital technology’s pervasiveness imposes a comprehensive management of architectural heritage by producing facsimiles of buildings and artworks and by testing robust methodologies, with the final result of providing effective multipurpose models. In this context, the main goal of the present paper is to develop a semantically aware HBIM model that includes an intelligent objects parametrization, leveraging Extended Reality (XR) technologies and digital curation of contents to pursue the preservation of Cultural Heritage (CH) as a whole. This research is implemented in the case study of the Ducal Palace of Urbino that houses the National Gallery of Marche. It was chosen as a remarkable example of a museum located in an architectural complex with a relevant historical background and fine detail of shapes and mouldings. In Italy, as in other European scenarios, museums and their collections need suitable dissemination and management systems that take advantage of the recent digital paradigms. The challenging approach is to exploit existing platforms and software and to adopt a cognitive modelling process, able to develop tools supporting managers and museum curators while enabling user experiences using immersive and interactive features. In order to stress the workflow, this work proposes the use of families with high Level of Detail (LOD) and high Level of Information (LOI). The present article provides, as well, an accurate data enrichment process specifically designed for a gallery’s artworks such as paintings and sculptures, in line with the national and international policies. The study presents a robust and reproducible methodology for digital musealization and management, focusing, as future overall objectives, towards a greater merging between the HBIM approach and XR technologies, also facilitated by training new professional figures with more in-depth digital skills.

This paper presents an overview of various types of virtual museums (ViM) as native artifacts or as digital twins (DT) of physical museums (PM). Depending on their mission and features, we discuss various enabling technologies and sensor equipment with their specific requirements and complexities, advantages and drawbacks in relation to each other at all stages of a DT's life cycle. A DT is a virtual construct and embodies innovative concepts based on emerging technologies (ET) using adequate sensor configurations for (meta-)data import and exchange. Our keyword-based search for articles, conference papers, (chapters from) books and reviews yielded 43 contributions and 43 further important references from Industry 4.0, Tourism and Heritage 4.0. After closer examination, a reference corpus of 40 contributions was evaluated in detail and classified along with their variants of DT—content-, communication-, and collaboration-centric and risk-informed ViMs. Their system features correlate with different application areas (AA), new or improved technologies—mostly still under development—and sensors used. Our proposal suggests a template-based, generative approach to DTs using standardized metadata formats, expert/curator software and customers'/visitors' engagement. It advocates for stakeholders' collaboration as part of a comprehensive validation and verification assessment (V&VA) throughout the DT's entire life cycle. [ABSTRACT FROM AUTHOR]

Many researchers in the field of cultural heritage point to the justification of the use of extended reality to present digital heritage. Research studies, but mainly user reactions, have responded to experiences with extended reality with a positive response. Technological research in the field of extended reality is advancing rapidly. In this review, we will cover the current possibilities and trends of extended reality. Specifically, we will focus on the application in creating interactive multimedia exhibitions in museums and galleries and presenting 3D digital heritage. We believe the practical examples shown will be an inspiration for application developers, content creators, and exhibition curators. Awareness of the possibilities and limits of the current state of technological progress is an essential requirement for utilisation of the full potential of extended reality. [ABSTRACT FROM AUTHOR]

Extended Reality (XR) technology represents an innovative tool to address the challenges of the present, as it allows for experimentation with new solutions in terms of content creation and its fruition by different types of users. The potential to modulate the experience based on the target audience's needs and the project's objectives makes XR suitable for creating new accessibility solutions. The "Includiamoci" project was carried out with the aim of creating workshops on social inclusion through the combination of art and technology. Specifically, the experimentation involved ten young people between the ages of 28 and 50, with cognitive disabilities, who participated in Extended Reality workshops and Art Therapy workshops. In the course of these activities, the outputs obtained were two: a virtual museum, populated by the participants' works, and a digital set design for a theatrical performance. Through two tests, one on user experience (UX) and one on the degree of well-being, the effectiveness of the entire project was evaluated. In conclusion, the project demonstrated how the adopted solutions were appropriate to the objectives, increasing our knowledge of UX for a target audience with specific user needs and using XR in the context of social inclusion. [ABSTRACT FROM AUTHOR]

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of IUL Research is the property of IUL - Universita Telematica degli Studi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Museums share with libraries and archives the mission of safeguarding objects of historical value, but unlike these institutions, they have undergone several modifications over time to take the focus off the object and give more importance to information and the visitor. Currently they encompass different types of experiences, either through digital and interactive elements, or through new approaches, such as storytelling, which has acted as a protagonist of these transformations. In this sense, the museum in the digital modality, known as virtual museum, plays an important role in this sharing of information and experiences. However, by having different modalities of navigation and interaction, especially in formats that simulate the physical visit, such as virtual tour, they present some problems that have been identified in the literature. With this analysis, we try to understand the role of narratives and the way museums use them in the virtual space to understand the gaps in the use of storytelling in this context.

Copyright of Journal of Computer Sciences Institute is the property of Lublin University of Technology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper presents a process of testing a created virtual reality application for displaying the "Hujra", a room for students of the 17th century madrassa in the area of the Silk Road, together with interactive objects. The designed 3D objects had sufficiently small file sizes to be introduced into virtual reality, and the fully mobile application worked effectively using smartphones within the price group available to the average user. The application was presented to a group of students and researchers from Kyrgyzstan. In addition, objects not belonging to the Islamic culture were introduced into the students' room. Pilot tests confirmed the usefulness of the proposed solution of 3D modelling. Interviews with the participants of the experiment and the results of a survey showed that the virtual reality application was a very attractive form of presentation, especially for people belonging to Generation Z. The combination of the complexity of the project and its high availability via smartphones was considered a successful solution by those questioned. [ABSTRACT FROM AUTHOR]

This study is to suggest a plan for attracting visitors who are a requisite for the survival of museums by combining design factors that visitors can most easily recognize in virtual museums and linking the satisfaction of visitors through the research on the relationship between the design factors of virtual museums in national museums and the satisfaction of visitors. To meet the purpose of the study, the theoretical basis of virtual museum, design factor, satisfaction, and intention to visit was examined through domestic and foreign literature and previous studies. Based on this, research the model and research hypothesis were set up and verified through empirical research. For a more empirical study, after the suitability of the questionnaire through previous studies was examined, 400 questionnaires were distributed to visitors who visited the enterprise exhibition hall in the metropolitan area of Korea. Of these, 340 were used as the final analysis data. The collected questionnaires were analyzed by demographic analysis, descriptive statistics analysis, validity and reliability analysis, correlation analysis, and multiple regression analysis using SPSS Ver. 25. Based on the results of the empirical statistical analysis, the study set the direction of the research considering the realistic meaning of the research results. Through the empirical analysis of this study, it was found that the satisfaction with the design factors of colour, graphics, and letters visitors to the virtual museum lead the s to a positive intention of visiting the museum based on the future existence and operation. Therefore, while the promotion of museum collections or museum-related products is very important when the operation or opening of a virtual museum is intended, the persons concerned should recognize that improvement of design factors is an important thing to induce the audience's on-site visit. In this regard, this study implies that it found out that design factors are important aspects attracting visitors and suggested the direction of maintenance and operation of museums. In future studies, it is required to expand the selection of objects for the operation and maintenance of private museums, not national museums. In addition to the design factors presented in this study, it is necessary to research to maximize the efficiency of the virtual museum operation through the verification of various design-related factors. [ABSTRACT FROM AUTHOR]

The purpose of this study is to look into primary school teacher candidates' experiences with virtual museums during the pandemic. For this purpose, the study was conducted with a phenomenology design, which is one of the qualitative research designs. The study's participants are 15 teacher candidates enrolled in the faculty of education for the 2020-2021 academic year. In the study, data were collected after 10 virtual museums were experienced by the participants, who made assessments from an educational perspective. The research data were collected through a structured interview form, the Virtual Museum Evaluation Form (VMEF). The data obtained were analyzed with content analysis. According to the findings of the study, it was determined that using virtual museums in educational environments will benefit students and teachers, but also have some disadvantages. At this point, it can be said that virtual museums can be used in education due to such reasons as ensuring the active participation of students in the lesson, supporting permanent learning, making the lesson fun, etc. while being aware of the disadvantages. [ABSTRACT FROM AUTHOR]

This study aims to determine the perceptions of pre-service social studies teachers about aesthetic values after visiting a virtual museum. The research was planned according to phenomenology, one of the qualitative research designs. The data of the research was collected through interviews. The descriptive analysis technique was used to analyze the data obtained from the research. According to the results of the research, regarding Pera virtual museum experience, the pre-service teachers pointed their opinions as its usability in the lessons, the feeling as if they were there. The elements that attracted their attention during virtual museum visit, mostly the artwork named "The Tortoise Trainer", explanations and videos next to the paintings. The pre-service teachers stated their aesthetic values gained through the virtual museum visit as mostly beauty, and then harmony, balance, delicacy, elegance, mystery, perfection, seriousness, majesty, aesthetics, perception of change and continuity, observation, respect, sensitivity, understanding, protecting and sustaining cultural values, pleasure, happiness. They expressed the effects of virtual museum visits on aesthetic values as mostly gaining a more positive attitude towards aesthetic values, followed by raising awareness, artworks should be evaluated from an aesthetic point of view, seeing the artworks in the museum from a multi-faceted perspective. [ABSTRACT FROM AUTHOR]