MW2010: Matthias Krauss and Manfred Bogen, Conveying Culture Heritage and Legacy with Innovative AR-based Solutions

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museums and the web

A presentation from Museums and the Web 2010. Conveyance of cultural heritage and legacy should start as soon as possible in schools. In order to make teenaged students interested in this topic, innovative ways have to be found to arouse attention, interest and motivation. We have developed an Augmented-Reality-based teaching platform (ARTP) that we successfully used for educational purposes in European schools. Our solution not only is useful in schools, but can also be installed for museums visitors too to allow innovative and interactive access to museum collectibles. We describe two possible strategies to bring AR into museums. The bottom-up approach is to bring the immersive potential of existing proven and robust technologies already in museums up to a reality augmentation level. The second approach takes the opposite direction: improving the robustness of fully featured AR technology currently existing in research labs up to a level of maturity that allows everyday use in museums. We illustrate both strategies by respective projects that we conducted. Session: Actionable Research [research] see: http://www.archimuse.com/mw2010/abstracts/prg_335002242.html

Technologie Formation

Matthias Krauß, Dr. Manfred Bogen, Fraunhofer IAIS, Germany Conveying Cultural Heritage and Legacy with Innovative AR-based Solutions

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Introduction: A naive view ,[object Object],[object Object],[object Object]

Introduction: A naive view ,[object Object],[object Object],[object Object],[object Object]

Challenging artefacts to exhibit: Examples Very small and very large objects

Challenging artefacts to exhibit: Examples Dangerous objects Marie Curie and her daughter Irène in the laboratory at the Radium Institute in Paris, France, 1921. Photo: Association Curie Joliot-Curie, source: www.archievement.org

Challenging artefacts to exhibit: Examples Fragile objects (”Do not touch“), invisible processes Prismen-Spektralapparat, Joseph v. Fraunhofer, 1814

In these cases, Augmented Reality can: ,[object Object],[object Object],[object Object],[object Object]

Augmented Reality types and status Augmented Reality Side-by-side Video-based AR See-through AR Spatial AR Technial effort / immersion effect robust current emerging theory

Bottom-up approach ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Bottom-up example: Spektralapparat Original Spektralapparat Virtual Spektralapparat

Top-down approach ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Top-down example: Spinnstube ® 2 ,[object Object],[object Object],[object Object],[object Object],[object Object]

Conclusion and further work ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

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The recent proliferation of technologies and devices (including iPhone, iPad and alike) provides new perspectives for the use of multimedia applications for cultural heritage. Users are no more just sitting in front of their PC at home, but they also access multimedia information walking in the galleries or in archaeological parks, sitting in a cafeteria, driving a car, travelling on a train, etc. In addition, and most important, all the different devices and technologies are important, and institutions can’t anymore decide which are preferable for their users, who are free to choose according to their (permanent or temporary) needs. In relation to the above, this paper wants to raise two basic issues concerning: (1) effective authoring environments and (2) adaptation of content to different devices, technologies and situations of usage. The current generation of authoring environment is quite unsatisfactory. Many authoring tools are officially aimed at specific technologies for specific situations (for example, an iPhone in a gallery). Other tools are apparently aimed at multiple devices/technologies and multiple situations of usage, but they are actually biased towards a limited set of choices, especially as far as situations of usage are concerned (e.g. try to listen to a mobile guide for a gallery, while sitting at home) and their structure (information architecture) cannot be easily bended to fit new needs. a presentation from Museums and the Web 2011 (MW2011)

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pportunities that these could offer particularly in terms of visitors' orientation and way finding. The presence of a touch screen, in fact, supports the use of interactive maps, which, alone or in combination with location aware technologies can help visitors understand where they are and decide where to go. More than 10 years have now passed since the implementation of the first handheld guide and, unfortunately, many museums are still struggling to develop and implement effective way finding solutions on mobile platforms. Location aware technologies have proven to be expensive and problematic to install and maintain, while interactive maps, particularly of complex sites can be challenging for people to use and interpret on small screens. Building on the experience of other institutions such as Tate, the Met and the Louvre, the British Museum has recently launched a multimedia guide in 11 languages that supports way finding and orientation without relying on location aware technology. In this paper, we will present in details the various way finding solutions that were developed for the guide, as well as the results of research and evaluations that were carried out on these applications during and after the launch. Through our experience, we hope to provide a reference for other medium and large size museums, which are grappling with similar issues. A presentation from Museums and the Web 2011 (MW2011).

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The Art Institute of Chicago has been publishing award-winning scholarly and popular print catalogues for decades… but is this model sustainable? Digital publication appears to hold great promise for both user experience and global reach. To achieve these bright outcomes, however, institutions need to approach the challenges and opportunities of digital publication with creativity, willingness to reorganize around new ideas and the careful and adequate resourcing of this vitally important publishing agenda. In this paper, we will share the Art Institute of Chicago’s experiences gained from forging new integrated print and digital publishing workflows. The discussion will focus on case studies from our ongoing efforts on the Monet and Renoir Systematic Catalogue supported by the Getty’s Online Scholarly Catalogue Initiative (OSCI), the Martin European Decorative Arts Gallery Interactives, the French Impressionism iPhone, iPad and Android applications, and other publications. These projects have all required a deeper collaboration between the technology, publications, education, and marketing/ communications departments. We will discuss our approaches to challenges brought on by these digital publishing opportunities, such as: How do we address the impact these workflows have on both job responsibilities and available human resources? Does increasing the digital publishing portfolio imply decreasing the number of print catalogues planned? How can we incentivize scholars to write for digital publication? Will certain features, such as footnotes and citation tools, allow the field of art history to better recognize the legitimacy of these digital works? What content and which publication channels are appropriate for revenue generating goals? Is new hardware like the iPad creating a new generation of expectations for digital publication? How sustainable are these digital publications as software evolves—are we considering the ongoing maintenance costs?

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What becomes the role for institutions and scholars charged with the study and safe-keeping of the past and the near-future when traditional methodologies like "authority records" are forced to compete with automated data collection, machine learning, the now suddenly practical reality of "big data" and the rise of broad communities of participation? The breadth and reach of the Internet and the availability of alternative data sources, whether they are harvested programmatically or fashioned by amateur communities of interest has created a world where both the conceptual and financial economics of traditional scholarship are rapidly being undermined. Further, in the absence of a way for non-experts to feel as though they can participate in the discourse outside of established venues and vocabularies the opinions and assumed meritocracies of experts are increasingly being overlooked entirely. What would it mean to change the role of digital preservation and scholarly interpretation from one where it looks and feels, to those the outside, like castle walls to be more like a rough guide composed of road signs and fence-posts? To consider a project whose goal is no longer to weave elaborate tapestries of the past facts but to produce textiles, and patterns, to be fashioned into reflections of the present? A presentation from Museums and the Web 2011.

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This paper presents a three research projects currently underway to develop new omni-spatial visualization strategies for the collaborative interrogation of large-scale heterogeneous cultural datasets using the worlds’ first 360-degree stereoscopic visualization environment (Advanced Visualization and Interaction Environment - AVIE). The AVIE system enables visualization modalities through full body immersion, stereoscopy, spatialized sound and camera-based tracking. The research integrates ground-breaking work by a renowned group of international investigators in virtual environment design, immersive interactivity, data visualization, museology, cultural analytics and computational linguistics. The work is being implemented at the newly established world-leading research facility, City University’s Applied Laboratory for Interactive Visualization and Embodiment – ALIVE). A paper from Museums and the Web 2011.

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museums and the web

A presentation from Museums and the Web 2010. Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum. Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light? Session: Mobiles: A Panel [mobile] see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html

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A presentation from Museums and the Web 2010. We present the results of a case study testing Open Museum’s Mobile service in partnership with the Hood Museum of Art at Dartmouth College. We explore preferences, challenges, and barriers to use for the various participants (including visitors, our museum partners and Open Museum itself) and look at the lessons learned about the technical, content, and social aspects of a mobile Web access project in museums. Session: Mobiles: A Panel [mobile] see http://www.archimuse.com/mw2010/abstracts/prg_335002271.html

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A presentation from Museums and the Web 2010. The proliferation of iPhones, Smart-Phones and now “Super-Phones” continues to expand the tools available to museums for mobile interpretation and raise the expectations of their audiences. This paper provides a survey of recent trends in the museum industry to adapt to new audience expectations, and, more broadly, to assess the effect of mobile devices, the ubiquitous Internet and social networking on visitor expectations. Addressed from the industry perspective, it looks at the movement of the industry to multi-platform and media experiences as well as the challenges institutions face in developing and launching these new mobile features into the gallery experience. Are these efforts enough? Specifically, how closely aligned are museums’ objectives and their vision of mobile interpretation with the quickly evolving expectations and needs of their audience? Presented in this paper are the results of two pieces of research. The first set is on cultural and art professionals and focuses on how their institutions have implemented mobile interpretations and how they plan to execute mobile guide strategies in the future. The second is a set of visitor surveys and guide evaluations completed at major US and European museums and historic sites over the past three years. Session: Mobiles: A Panel [mobile] see http://www.archimuse.com/mw2010/abstracts/prg_335002210.html

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museums and the web

Museums face many challenges when building on-line collaborative networks to engage diverse knowledge communities. In this paper we explore the emergence of one such system, the Reciprocal Research Network (RRN), launched in March of 2010. During development, the RRN team explored and tested methods to overcome challenges commonly faced by museums undertaking similar projects. Here we discuss how the RRN is affecting research, why it is having this effect, and what course the development process followed. The RRN creates an on-line research community, allowing geographically dispersed users to collaborate while studying cultural objects held in institutions around the world. Museums and other cultural institutions are contributing their data to the RRN in order to facilitate this research. Diverse user groups, including indigenous communities, share their own perspectives and knowledge with the people and institutions that make up the RRN community. The Reciprocal Research Network was co-developed by three First Nations communities, the Musqueam Indian Band, the Stó:lō Nation/Tribal Council, and the U’mista Cultural Society, along with the Museum of Anthropology (MOA) at the University of British Columbia. A dozen museums also participated in the development process. Session: Multi-Institutional Collaboration: Process [organizations] see http://www.archimuse.com/mw2010/abstracts/prg_335002329.html

MW2010: Building an online research community: The Reciprocal Research Network

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museums and the web

A presentation from Museums and the Web 2010. Europeana, Europe's multimedia on-line library, museum and archive, currently grants access to the cultural holdings of Europe's twenty-seven member states. It includes more than 5.5 million books, maps, recordings, photographs, archival documents, paintings, and films from national libraries and cultural institutions. Europeana’s goal is to open up new ways of exploring Europe's heritage through free access to the collections and treasures via a single Web portal that is available in all the official EU languages (http://ec.europa.eu/information_society/ doc/factsheets /071-europeana-en.pdf). Europeana is currently in prototype; the full service will launch later in 2010. The operational Europeana portal will provide improved search functionality and access to over 10 million objects. A follow-up release in 2011 will showcase multilingual and semantic Web features. ATHENA's role is to harvest holdings from Europe's museums and similar collections across the cultural sector, and to facilitate their integration into Europeana. This paper will discuss this ambitious project from the point of view of the organizational strategies required to coordinate the pan-European, ATHENA Network, as well as the thesauri and multilingual developments that the partners are currently dealing with towards the integration of digital content. Session: Multi-Institutional Collaboration: Process [organizations]

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museums and the web

A presentation from Museums and the Web 2010. The Now and Then community heritage wiki was initiated to research the potential of Web 2.0 technologies to engage and sustain interest in local history and heritage collections. The aim of this action research project is to explore whether wikis can provide a low-cost, sustainable way of increasing interest and participation in the preservation, interpretation and enjoyment of local history and heritage collections. The target organisations to use the wiki are generally very small and are often staffed solely by volunteers. The pilot implementation in a small rural community has been well received and is generating significant levels of interest and participation. This paper aims to share the learning from this project about the potential and implications of wikis as the basis for sustainable knowledge communities around local history and heritage. It explores how collaborative knowledge-making practices such as crowdsourcing present new challenges and opportunities for museums, their information management paradigms, and their relationships with communities. Session: Wikis for Content Management [content] see http://www.archimuse.com/mw2010/abstracts/prg_335002330.html

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1. Matthias Krauß, Dr. Manfred Bogen, Fraunhofer IAIS, Germany Conveying Cultural Heritage and Legacy with Innovative AR-based Solutions

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5. Challenging artefacts to exhibit: Examples Very small and very large objects

6. Challenging artefacts to exhibit: Examples Dangerous objects Marie Curie and her daughter Irène in the laboratory at the Radium Institute in Paris, France, 1921. Photo: Association Curie Joliot-Curie, source: www.archievement.org

7. Challenging artefacts to exhibit: Examples Fragile objects (”Do not touch“), invisible processes Prismen-Spektralapparat, Joseph v. Fraunhofer, 1814

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9. Augmented Reality types and status Augmented Reality Side-by-side Video-based AR See-through AR Spatial AR Technial effort / immersion effect robust current emerging theory

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11. Bottom-up example: Spektralapparat Original Spektralapparat Virtual Spektralapparat

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