Adaptive Virtual Exhibitions

Bonis, Bill; Vosinaki, Spyros; Andreou, Ioannis; Panayiotopoulos, Themis

doi:10.14429/djlit.33.4604

Cited by 14 publications

(4 citation statements)

References 25 publications

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“…By 2010, the literature on VEs was defined by 3D presentation and VR, although case studies of the time still mostly reflect simple webpage formats. At this juncture, Bonis et al (2013) defined VEs as "singleor multi-user realistic three dimensional (3D) representations of artifact collections, in which visitors navigate, observe the exhibits, learn related information presented with various media, and in some cases interact with them" (Bonis et al, 2013, p. 183), adding later in the article that the difference between 2D interfaces and 3D representation is the level of immersion. With this technology, it was possible to present virtual artifacts in a state never before seen in real-life, such as assembling fragments to depict an entire image (Hecher et al, 2011).…”

Section: S -Consumer Access To Vr and Development Of Vesmentioning

confidence: 99%

“…The interactive, multisensory nature of the web allows visitors a greater exploratory and active role, thus enhancing the learning experiences available, so that 'whilst we only remember 10 percent of what we read, we remember 90 percent of what we say and do. (Lester, 2006, p. 88) Bonis et al (2013) also advocated adaptive user navigation in exhibition design.…”

Section: S -Consumer Access To Vr and Development Of Vesmentioning

confidence: 99%

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Museums Without Walls

Catton¹,

Smith²

2021

Pathfinder

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The purpose of this paper is to explore the possibilities of virtual exhibitions (VEs) for GLAM institutions. While VEs continue to be secondary to physical exhibitions, an effective VE uses technology to engage viewers and present opportunities for interactivity to support further learning and discovery of collection materials. Cultural heritage organizations can use VEs to make the “digital version of a cultural artefact accessible even when the physical access is restricted” and leads GLAM institutions and LIS scholars to reflect on how “users receive and interact with information in a virtual world” (Caggianese et al., 2018, p.625). With the aid of easily accessible additional information, this modern form of presentation may support a deeper level of understanding than a user can experience by viewing a traditional physical exhibition, and may enhance their overall viewing experience. Despite the excitement and opportunities afforded by VR, exhibitions remain accessible for visitors without VR equipment via browsers or web-page based exhibitions. As the “virtual exhibition is a concept that has acquired new meanings along with the evolution of modern information and communication technologies,” we look forward to seeing how GLAM institutions continue to shape the user experience (Ciurea & Filip, 2016, p.28). Cultural organizations will continue to develop and combine their partnerships, financial and staff resources, content, and visitor interests to build more VE structures that fit both their collections and their community.

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Section: S -Consumer Access To Vr and Development Of Vesmentioning

confidence: 99%

Section: S -Consumer Access To Vr and Development Of Vesmentioning

confidence: 99%

Museums Without Walls

Catton¹,

Smith²

2021

Pathfinder

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“…In (Doulamis, Liarokapis, Petridis, & Mialous, 2012) a serious game is proposed based on scenarios derived from the cultural heritage domain and attempts to enrich the player's knowledge by spreading a mystery in ancient times. In a recent work (Bonis, Vosinakis, Andreou, & Panayiotopoulos, 2013) proposed a multi-user framework for virtual exhibitions that adapts to visitors' preferences. Recently, Kiourt et al (2015a;2015b; have studied many aspects of interactive virtual museums mainly focusing on interactive 3D object exhibitions with dynamic open data content; the virtual museum was reintroduced as a cultural and educational tool that focuses on user-driven exhibitions.…”

Section: Introductionmentioning

confidence: 99%

Realistic Simulation of Cultural Heritage

Kiourt

Pavlidis

Koutsoudis

et al. 2017

International Journal of Computational Methods in Heritage Science

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One of the most challenging problems in the simulation of real environments is to generate worlds that appear realistic and more attractive. It becomes increasingly challenging when the simulated environment focuses on minors (students), because the young generation has high demands on simulation systems due to their experience in computer gaming. Virtual museums are among the most important simulation environments, which present cultural and educational content for everyone. Their purpose is to enrich the users experience by allowing an intuitive interaction with the museum artifacts and to offer knowledge with the most pleasant ways. This paper focuses on the aspects of realistic simulations in the development of virtual 3D environments for Cultural Heritage applications. This study includes aspects regarding some of the most high-tech image effects, applicable artificial intelligence methods, powerful game engines, how real object can be reconstructed realistically and how all those features may be combined to produce realistic, pleasant, productive and educative environments.

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“…Virtual exhibition sebagai edukasi kewirausahaan dan technopreneurship menurut penelitian Bonis et al, (2013) menyatakan bahwa pameran virtual adalah representasi dari 3D realistik tunggal atau multi pengguna, dimana pengunjung pameran dapat menavigasi, mencermati pameran serta mempelajari informasi terkait hal-hal yang disajikan di berbagai media, dan dalam pameran virtual ini tidak memiliki batasan fisik sehingga penyelenggara dapat mengadakan pameran dalam jumlah yang tidak terbatas di ruang presentasi yang sangat besar serta pameran dapat dinikmati melalui komputer atau gawai tanpa terbatas ruang dan waktu, melalui jaringan internet. Adapun menurut (Jati, 2022) edukasi merupakan suatu proses penyampaian informasi untuk individu ataupun perorangan dengan tujuan memberikan pembelajaran dan pembinaan dengan ditandai adanya perubahan yang lebih baik.…”

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Pengembangan Virtual Exhibition Sebagai Edukasi Kewirausahaan dan Technopreneurship

Auliya,

Zutiasari

2023

JIPE

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This research aims to produce a virtual exhibition media that is valid and feasible to use as entrepreneurship and technopreneurship education to students. The background of the research is the application of technopreneurship learning which is still not optimally implemented in universities. Based on observations, there is student interest in learning entrepreneurship and new innovations. This research includes development research with ADDIE stages. The test subjects of this research were 100 students of the Department of Management with snowball sampling technique. Data collection instruments include observation, questionnaire, documentation. The types of data used are qualitative and quantitative data with quantitative descriptive statistical data analysis techniques. The overall validation results from media experts and material experts obtained an average score of 95.5% with the criteria "very valid and very good to use". The results of student responses reached an average of 90% with the criteria "very good to use". This proves that there is a positive response in using virtual exhibition for entrepreneurship and technopreneurship education media.

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Adaptive Virtual Exhibitions

Cited by 14 publications

References 25 publications

Museums Without Walls

Museums Without Walls

Realistic Simulation of Cultural Heritage

Pengembangan Virtual Exhibition Sebagai Edukasi Kewirausahaan dan Technopreneurship

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