The methods of preserving cultural heritage are becoming increasingly digital, and with this development it is becoming all the more open to public scrutiny. The field of virtual heritage and their applications, which digitally preserve cultural heritage using virtual reality, are struggling to live up to the expectations of the public. The virtual heritage field has begun to look for solutions to their problems in other fields, such as that of video games. This thesis identifies 17 elements which are sought after for incorporation in virtual heritage applications, by conducting a literature review of recent virtual heritage research and organizing the findings into a matrix. The occurrence of the identified elements in four different modern entertainment video games is further analyzed and described. The resulted element matrix and game reviews could be used in the future development of virtual heritage applications, and of cultural heritage or historical video games.

This thesis has been an odyssey of sorts, into how the creative and playful use of digital tools, such as virtual reality technology, may prompt one's engagement with ‘the lost atmosphere of a Place’ and its history. My point of reference is the novel platform known as Uppsala VR, the property of the Gamla Uppsala museum in Sweden. What exactly has been its nature and purpose? How is it being embedded in the overall museum practice? How do visitors perceive and experience it? What started as a User Experience (UX) survey, yet, in time evolved into an exploration of the Uppsala VR in terms of ‘mediated spectacle’. Eventually, through continuous observations, negotiation, and reflection, an intricate understanding develops about what lies beyond for historical heritage and its representation, and about the role of the users’ imaginative creativity in this process.

Made available in DSpace on 2015-05-14T12:36:44Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 13775909 bytes, checksum: a65f9a9446bb61eaf79c21106539a9be (MD5) Previous issue date: 2013-07-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This document presented the relationship between Digital TV - through their interactivity - and virtual tours, regarding the presentation of remote locations based on the methodology employed in virtual tours of Google Street View. Briefly expounded the evolution of some issues necessary for the proper understanding of the project as: Virtual Tour, Google Street View, Tourism and Digital TV, drawing parallels and points of encounter between these social and cultural phenomena, and present a reflection on using conceptual image at the expense of its use as a visual representation only. This research was presented a possible adaptation to the Digital TV visitation to remote places through 360° panoramic tours. As validation of the hypothesis, an application was developed for Digital TV containing a virtual tour to a museum in the light of the methods used to develop virtual tours to the internet in order to demonstrate their use successfully in this new platform. As a complement, a WEB system was developed able to generate this NCL application, suitable for Digital TV. / Este trabalho apresentou a relação entre a TV Digital - através de seus recursos de interatividade - e passeios virtuais, no que tange a apresentação de lugares remotos tendo como base a metodologia empregada nos passeios virtuais do Google Street View1. De forma resumida explanou a evolução de alguns temas necessários ao bom entendimento do projeto como: Passeio/Tour virtual, Google Street View, Turismo e TV Digital, traçando paralelos e pontos de encontro entre estes fenômenos sociais e culturais, além de apresentar uma reflexão sobre o uso da imagem conceitual em detrimento do seu uso como representação exclusivamente visual. Foi apresentado nesta pesquisa um formato possível de adaptação à TV Digital de visitação a lugares remotos através de Tours panorâmicos 360°. Como validação da hipótese levantada, um aplicativo foi desenvolvido para TV Digital contendo um passeio virtual a um museu à luz dos métodos utilizados para desenvolvimento de passeios virtuais para internet, a fim de demonstrar o seu uso com êxito nessa nova plataforma. Como complemento, foi desenvolvido um sistema WEB capaz de gerar essa aplicação no formato NCL, próprio para TV Digital.

This thesis investigates the User eXperience (UX) and risks associated with Virtual Reality (VR) technology in museum exhibitions. The study builds upon the Hybrid Museum Experiences: Theory and Design by Løvlie, Sundnes et al. (2022) and adopts the User eXperience in Immersive Virtual Environment (UXIVE) Model developed by Tcha-Tokey et al. (2018). The aim is to analyse the interplay between Flow, Presence, and Experience Consequence in VR experiences and assess the impact of computational skills on user engagement. Additionally, the study evaluates the effectiveness of VR exhibits in addressing common risks. Findings indicate a positive correlation between experience consequence and flow, as well as suggest a potential influence of computational skills on flow, and highlight the significance of presence in fostering engagement and immersion. The VR exhibits effectively mitigated the common risks, as reflected in positive participant feedback. This research contributes to enhancing UX in VR museum experiences and provides insights for designing immersive exhibits while managing associated risks. Further research is recommended to validate the study's inferences and delve deeper into the influence of computational skills on flow.

Em um primeiro momento as novas tecnologias podem impulsionar acentuadamente a interação com um elemento, o que pode levar à um aprendizado significativo, mas esse impulso reduz assim que a interação se torna comum ou até mesmo repetitiva. Quando essa nova tecnologia se torna natural para o usuário ela deixa de ser uma novidade e se torna uma ferramenta. O uso de Imagens Geradas por Computador (IGC) experienciaram exatamente isso, décadas atrás, mas estão constantemente sendo iteradas de acordo com suas necessidades de reavaliação frequentes. Com o desenvolvimento das IGC as imagens tridimensionais deixaram de ser um formato excessivamente complicado, ao passo que hardwares e conceitos foram adentrando objetos do dia-a-dia como smartphones, webcams, câmeras, aplicativos de geração de malhas 3D, etc. O seu uso com objetivos museológicos se tornou evidente no campo da herança cultural para arquivamento e comunicação. Sendo assim, para verificar a viabilidade para uma solução fácil e de baixo custo visando novos usuários, diferentes tipos de métodos não-destrutivos de reconstrução baseadas na superfície foram analisados. Para isso, identificou-se a qualidade do resultado de precisão da malha, a rastreabilidade e a compatibilidade dos mesmos. Com esse objetivo, foi proposto um método com um conjunto de métricas que podem ser aplicadas para determinar a usabilidade de um objeto reconstruído com um fim específico. Quatro artefatos arqueológicos foram escaneados usando métodos de vídeo fotogrametria e vídeo de profundidade, a serem comparados com substitutos escaneados a laser. Depois de analisar os escaneamentos dos mesmos objetos com esses diferentes métodos, concluiu-se que a fotogrametria é capaz de gerar com rapidez um modelo altamente detalhado, mas com várias distorções. A profundidade de câmera gerou superfícies mais suaves e maior incidência de erros. Em última análise, cada método apresentado demonstra múltiplas possibilidades para materialização, dependendo do objetivo, resolução e de quão detalhado o objeto deve ser para ser corretamente compreendido. / At first glance new technologies can provide an engaging way to interact with a subject which may induce a meaningful learning, but it soon falls short when it becomes common or even repetitive. As this new technology becomes natural to the user, it no longer relies on novelty and goes into another condition, as a tool. The use of Computer-Generated Imagery (CGI) experienced exactly this, decades ago, but as it\'s constantly being iterated upon it needs to be reassessed often. As CGI goes, the tridimensional imagery as an overcomplicated format started to fade, as new hardware and concepts made way into everyday objects such as smartphones, webcams, cameras, 3D mesh generation apps, etc. It\'s use for museological purposes became clear in the field of cultural heritage for archiving and communication. So, to verify the viability for a low-cost and easy to use solution aiming to novice users, different types of non-destructive methods surface based reconstructions are analyzed to identify the quality of the resulted mesh based on precision, traceability and compatibility. To this end, it was proposed a method with a set of metrics which can be used to point out the usability of a reconstructed object for a specific end. Four archaeological artifacts were scanned using the video photogrammetry method and the depth video method, to be compared with a laser scanned surrogate. After analyzing the scans of the same objects with these different methods, the conclusion is that photogrammetry has the power to provide a highly detailed model very fast but with several distortions. The depth camera provided smoother surfaces and higher error. Ultimately, each method presented multiple possibilities for materialize itself, depending on target resolution and how detailed the object must be to correctly understand it.

L'Alsace a été profondément marquée par l'industrie textile. Depuis près de deux siècles, cet héritage se compose, se transmet puis se démantèle avec les taux de croissance structurels et conjoncturels de l'économie et les crises industrielles. Puis, il se recompose de manières arbitraire, hasardeuse, voire opportune (au-delà de la rationalité plus ou moins assurée de stratégie(s) à court terme), pour former de ce fait un paysage culturel, scientifique, technique et industriel unique à chaque instant. Il est alors tout à fait légitime de se demander comment mettre en mémoire l'évolution de ce tissu industriel ans toute sa complexité ? Trois modes de conservation sont potentiellement exploitables : matérielle (concept de la rétro-présence à la néo-présence), immatérielle (concept de mémo-rétroconstruction) et virtuelle (concept d'aréel, favorisant clairement la prise de position sur des contenus matériels e immatériels à sauvegarder). Même si toutes ces possibilités coexistent, un problème reste entier : quelle trajectoire se dessine pour la conservation du patrimoine de l'industrie textile en Alsace ? La littérature sur la conservation du patrimoine industriel existante depuis les années 1970 tend à délaisser les relations d'interdépendances existantes entre ces trois modes de conservation. Le peu de résultats disponibles ne permet pas d'apprécier ce que pourrait nous apporter une bonne gestion de ces trois modes de conservation combinés. Ce travail de recherche s'est donné comme objectif de proposer des schémas possibles pour définir un nouveau modèle de conservation, basé sur l'exemple du patrimoine industriel textile en Alsace. La première partie de cette étude explique les processus qui ont permis le passage de l'industrie textile en Alsace au statut de patrimoine. Des choix guidés par des pouvoirs discrétionnaires, des logiques de conservation opposables, une discontinuité de ligne de conduite sur des courtes et longues périodes, de réoccupations parfois plus électoralistes que scientifiques, des désengagements d'hommes de responsabilités ou encore le manque de cohérence entre les acteurs ou les institutions... ont orienté la stratégie de la politique de conservation d'une région. Quel état des lieux peut-on dresser aujourd'hui grâce aux sources historiques ? Quels enjeux se profilent à court, moyen et long terme ? La seconde partie pose les mêmes questions, mais cette fois-ci en recherchant les réponses par l'exploitation exclusive de sources médiatiques. Elle interroge la pertinence des processus actuels de conservation du patrimoine de l'industrie textile, qu'ils soient matériel, immatériel ou virtuel avec un regard complémentaire à la première partie de cette étude, celui des journalistes, de la représentation publique et politique. Les sciences de l'information et de la communication apportent-elles de nouveaux horizons à la conservation de patrimoine ? Oui, mais pas seulement. Elles ne se limitent pas au rôle d'outils, mais nous verrons comment elles ont un rôle déterminant dans la reconstruction un patrimoine : elles se mettent collectivement en mouvement avec la société pour la définir, en exploitant tous les sens accumulés dans les sèmes liés au patrimoine industriel textile. Elles reconstituent ainsi une référence collective et formulent des hypothèses de transformation, d'adaptation et de projections futures. Nous verrons alors s'il est envisageable de leur réserver un rôle dans la conservation du patrimoine.La troisième partie met en évidence des convergences et les divergences des trois modes de conservation. Elle propose des solutions concrètes pour l'Alsace, puis des concepts transposables pour ouvrir ce nouveaux processus de conservation vers d'autres régions françaises ou pourquoi pas vers d'autre thématiques. / Alsace has been profoundly marked by the textile industry. For two centuries, its textile heritage has experienced numerous fluctuations, rising and falling according to the structural and cyclical growth rate of the economy and to industrial crises. Fluctuations that, though completely random and uncontrollable (strategies, even short-term, cannot be implemented), have occurred in a timely manner, thus giving rise to constantly changing unique cultural, scientific, technical and industrial landscape.It is thus only right to wonder how the memory of the development of this industrial fabric can be preserved in all its complexity? There are three possible means of preservation: material (retro-presence to neo presence concept), immaterial (concept of memo-retroconstruction) and virtual (concept of what is "areal", clearly promoting position take-up on material and immaterial concepts to be protected). Even if all these possibilities exist side by side, one problem remains unanswered, namely what is the outlook for the preservation of the textile heritage in Alsace? The literature on preservation of industrial heritage available since the 1970s tends to overlook the existing relationships of interdependence between these three modes of preservation. The shortage of results does not allow us to appraise the potential offered by proper management of a combination of these three modes of preservation. This research work thus aims to propose some possible schemes to define a new preservation model, based on the example of the textile industrial heritage in Alsace. The first part of this study explains the processes that have allowed the textile industry in Alsace to accede to heritage status some 200 years ago. Choices guided by discretionary powers, opposable preservation logics, discontinuity in course of action over short and long periods alike, reclaiming more often oriented by lections rather than of a scientific nature, opting-out of those with responsibilities, not to mention the lack of coherence between players and institutions: these are all factors that will guide a Region's preservation policy strategy. What state of affairs can be drawn up today by historical sources? What is the outlook for the future? The second part asks the same questions, but this time seeks for the answers based only on media sources. It questions the pertinence of the current textile heritage preservation processes, material, immaterial and virtual alike, but from a viewpoint different from and complementary to the first part, namely the viewpoint of journalists and public and political contributors. Do communication sciences offer heritage reservation new horizons? Yes they do, but that is not all they offer. We shall see that, far from being mere tool, they play a decisive role in the reconstruction of a heritage, grouping themselves to move with society in order to define it by using all the meanings accumulated in the semes relating to the textile industrial heritage. Through this they form a collective reference, formulating hypotheses for future transformation, adaptation and projections. We shall then see whether it is possible for them to play a role in heritage preservation.The third part highlights the convergences and divergences of the three preservation modes. lt suggest concrete solutions for Alsace, followed by transposable concepts to extend these new preservation processes to other regions in France and, why not, to other areas.