Thesis (M.S.)--Florida State University, 2003. / Advisor: Dr. Lisa Waxman, Florida State University, School of Visual Arts and Dance, Dept. of Interior Design. Title and description from dissertation home page (viewed Apr. 7, 2004). Includes bibliographical references.

This thesis explores the relationship between existing museum exhibition development strategies and the potential practices which arise from the virtualisation of the museum. It does so within the context of the new disciplines which are the phenomena of new media practices, the discourses surrounding exhibition development and broader changes to museum provenance, patrimony, collection and display. / Focusing on the establishment of an exhibition discourse within diversifying new media environments, the thesis proposes a theoretical framework of textual strategies and spatial sequences which emerge from the virtualisation of the museum. The research investigates the semiotic structures which enable museum display to be conceived of as a text and proposes methods of visual analysis which can be used to evaluate exhibition as a communication form. A series of spatial and temporal sequences of virtual display are derived from theoretical exploration and case-evaluation. These form the basis of the development of the notion of sites of virtual display. Situated within an interdisciplinary framework, the research aims to contribute to exhibition development praxis by identifying generic and specific factors which contextualise the development of virtual display. / The thesis tests the theoretical framework of textual strategies and spatial sequences through the development of an ontology of virtual display. The ontology is tested through education materials developed within a social constructivist pedagogical model. Using qualitative methods, the studies test the validity of the ontology as a model for situating reflective practices within museum exhibition design. The model is intended to inform the ways in which new media technologies are applied in the museum exhibition environment. / The research responds to the challenges posed by new media technologies in negotiating and appropriating techniques of communication and display in the museum exhibition environment. / Thesis (PhDArchitectureandDesign)--University of South Australia, 2004.

Η διπλωματική αυτή εργασία εκπονήθηκε στο Εργαστήριο της Ερευνητικής Ομάδας Αλληλεπίδρασης Ανθρώπου-Υπολογιστή του Τμήματος Ηλεκτρολόγων Μηχανικών και Τεχνολογίας Πατρών του Πανεπιστημίου Πατρών. Στόχος της εργασίας είναι η μελέτη και η ανάπτυξη δύο εικονικών χαρακτήρων, μιας ξεναγού και ενός παιδιού-επισκέπτη, καθώς και των συμπεριφορών τους, με αποτέλεσμα την ενσωμάτωσή τους σε μια εφαρμογή ενός εικονικού μουσείου. Ο χρήστης της εφαρμογής-επισκέπτης του μουσείου θα μπορεί να περιηγείται στους χώρους του, να αλληλεπιδρά με τα αντικείμενα του μουσείου και να πληροφορείται με τη βοήθεια της εικονικής ξεναγού σχετικά με αυτά. Το μουσείο στο οποίο αναφέρεται η διπλωματική εργασία είναι το “Μουσείο Σολωμού και Επιφανών Ζακυνθίων” που βρίσκεται στην Ζάκυνθο. / -

Made available in DSpace on 2014-06-11T19:26:43Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-11-30Bitstream added on 2014-06-13T18:55:04Z : No. of bitstreams: 1 lima_frb_me_mar.pdf: 1381876 bytes, checksum: 732a3a9364ef71fce939f43c9554a19f (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Com o Ciberespaço surgiram os webmuseus, que se caracterizam como ambientes informacionais com exposições de obras de arte apresentadas virtualmente, afetando o uso da imagem. A partir de um dispositivo de acesso à rede Internet, qualquer pessoa pode visitar obras de artistas consagrados sem sair do lugar em que está, uma característica da ubiquidade (estar presente em vários lugares ao mesmo tempo) oferecida pelas tecnologias de informação e comunicação (TIC), o que era possível apenas com o deslocamento geográfico para visitas presenciais. A transformação formal e dos conteúdos das obras de arte na sua transposição para ambientes digitais é uma consequência da passagem de uma estrutura semiótica para outra, o que ocasiona mudanças na qualidade estética da obra produzida em suporte diferente daquele que está sendo apresentado no ambiente digital para a construção de informação imagética (tamanho, cor, forma, etc.) nos museus digitais. A digitalização e a transposição das obras de arte para catálogos digitais (versão digital dos catálogos tradicionais) e/ou nos webmuseus criam simulacros das obras originais e sua forma material e orgânica transforma-se em linguagem computacional de bits e bites. Nesse contexto, apresenta-se como proposta identificar as características que indicam as transformações da estrutura de apresentação da obra de arte na sua transposição para ambientes virtuais quando digitalizadas, uma vez que, a mudança de um sistema semiótico para outro ocasiona rupturas e mutações na qualidade estética da obra de arte produzida sobre um suporte e transferida para outro. Com uso do método bibliográfico descritivo, o objetivo foi verificar as características dos catálogos impressos de obras de arte, dos sites de museus e de webmuseus demonstrando suas semelhanças... / With the presence of Cyberspace, web museums emerged, which are characterized as informational environments with exhibitions of artworks presented virtually, affecting the use of the image. Using an access device to the Internet, anyone can visit the works of established artists without leaving the place they are, which is a characteristic of ubiquity (being present in several places at the same time) offered by information and communication technologies (ICT), which was possible only with the geographic displacement to in-person visits. The formal and the artworks contents transformation in its transposition into digital environments is a consequence of the passage of a semiotic structure to another, which causes changes in the aesthetic quality of the work produced in different support from the one which is being presented in the digital environment for the construction of imagery information (size, color, shape, etc.) in digital museums. The digitalization and transposition of artworks to digital catalogs (digital version of the traditional catalogs) and /or web museums, create simulacra of the original works and its organic and material form transforms into computer language of bits and bites. In this context, were analyzed the impacts that information and communication technologies (ICT) cause the aesthetics of images available in these environments. Using the bibliographic descriptive method, the objective was to determine the characteristics of printed artworks catalogs, museums and web museums websites to demonstrate their ... (Complete abstract click electronic access below)

Orientador: Plácida Leopoldina Ventura Amorim da Costa Santos / Banca: Maria Lucia de Niemeyer Matheus Loureiro / Banca: Maria José Vicentini Jorente / Resumo: Com o Ciberespaço surgiram os webmuseus, que se caracterizam como ambientes informacionais com exposições de obras de arte apresentadas virtualmente, afetando o uso da imagem. A partir de um dispositivo de acesso à rede Internet, qualquer pessoa pode visitar obras de artistas consagrados sem sair do lugar em que está, uma característica da ubiquidade (estar presente em vários lugares ao mesmo tempo) oferecida pelas tecnologias de informação e comunicação (TIC), o que era possível apenas com o deslocamento geográfico para visitas presenciais. A transformação formal e dos conteúdos das obras de arte na sua transposição para ambientes digitais é uma consequência da passagem de uma estrutura semiótica para outra, o que ocasiona mudanças na qualidade estética da obra produzida em suporte diferente daquele que está sendo apresentado no ambiente digital para a construção de informação imagética (tamanho, cor, forma, etc.) nos museus digitais. A digitalização e a transposição das obras de arte para catálogos digitais (versão digital dos catálogos tradicionais) e/ou nos webmuseus criam simulacros das obras originais e sua forma material e orgânica transforma-se em linguagem computacional de bits e bites. Nesse contexto, apresenta-se como proposta identificar as características que indicam as transformações da estrutura de apresentação da obra de arte na sua transposição para ambientes virtuais quando digitalizadas, uma vez que, a mudança de um sistema semiótico para outro ocasiona rupturas e mutações na qualidade estética da obra de arte produzida sobre um suporte e transferida para outro. Com uso do método bibliográfico descritivo, o objetivo foi verificar as características dos catálogos impressos de obras de arte, dos sites de museus e de webmuseus demonstrando suas semelhanças... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: With the presence of Cyberspace, web museums emerged, which are characterized as informational environments with exhibitions of artworks presented virtually, affecting the use of the image. Using an access device to the Internet, anyone can visit the works of established artists without leaving the place they are, which is a characteristic of ubiquity (being present in several places at the same time) offered by information and communication technologies (ICT), which was possible only with the geographic displacement to in-person visits. The formal and the artworks contents transformation in its transposition into digital environments is a consequence of the passage of a semiotic structure to another, which causes changes in the aesthetic quality of the work produced in different support from the one which is being presented in the digital environment for the construction of imagery information (size, color, shape, etc.) in digital museums. The digitalization and transposition of artworks to digital catalogs (digital version of the traditional catalogs) and /or web museums, create simulacra of the original works and its organic and material form transforms into computer language of bits and bites. In this context, were analyzed the impacts that information and communication technologies (ICT) cause the aesthetics of images available in these environments. Using the bibliographic descriptive method, the objective was to determine the characteristics of printed artworks catalogs, museums and web museums websites to demonstrate their ... (Complete abstract click electronic access below) / Mestre

The main purpose of this mixed methods research was to explore and analyze visitors’ overall experience while they attended a museum exhibition, and examine how this experience was affected by previously using a virtual 3dimensional representation of the museum itself. The research measured knowledge acquisition in a virtual museum, and compared this knowledge acquired between a virtual museum versus a real one, employing a series of questionnaires, unobtrusive observations, surveys, personal and group interviews related to the exhibition and the artist. A group of twenty-seven undergraduate students in their first semester at the College of Architecture and Design of the Autonomous University of the State of Mexico participated in the research, and were divided in two groups, one of which used a 3D virtual representation previous to the museum visit. Results show that participants who experienced the virtual museum concurred that using it was a positive experience that prepared them to go to the real museum because they knew already what they were going to find. Most of the participants who experienced the virtual museum exhibited an increased activity during their museum visit, either agreeing, being more participative, concurring and showing acceptance, asking questions, or even giving their opinion and analysis, disagreeing with the guide and showing passive rejection. Also participants from this group showed an increase on their correct answers to the knowledge acquisition questionnaires, going from 27% answers responded correctly in the pre-test, to 67% of correct answers after the virtual museum usage. The research attempted to show that experiencing a virtual museum can be similar to the experience in physical museum visits, not only engaging participants to go to the museum, but sometimes even offering a more functional way to deliver content. Results of this research evidence that using a virtual museum creates a positive impact in users before, during, and after the museum visit, and that it can be a good alternative, not only for educational, but for promotional and recreational and purposes.

Made available in DSpace on 2016-06-02T19:16:41Z (GMT). No. of bitstreams: 1 6305.pdf: 2376693 bytes, checksum: 40a3b7a1ac493f0537ba39ffd994c24d (MD5) Previous issue date: 2014-02-20 / Financiadora de Estudos e Projetos / The purpose of this paper is to present the results of our research on virtual museums and cultural centers (MCCV), more specifically, about their interaction functions and mediation between the subject and the knowledge. We find it appropriate to discuss this issue for two basic reasons, namely, first, we live in a globalized society, connected by the Internet network, where all sorts of business, entertainment, communication and even educational activities are being transmitted and accessed by people all over the world. Second, we see great growth of so‐called educational sites where our attention focuses on MCCV. Thus, we aimed to answer the following questions: What level of interaction and mediation found in MCCV? The MCCV can really be classified as mediators between the subject and knowledge? Can we actually learn something from these MCCV? To answer such questions, we had to: identify and characterize MCCV , identify its origins , languages and settings in digital grafocêntricas constituent societies, analyzing the adopted technologies in teaching and learning. Analyze the theories of Vygotsky, Freire and others on subjects such as: interaction, mediation, learning, education, etc.. Finally, we evaluate the technical level navigation on the websites of MCCV as well as the level of interaction and mediation found these. Thus , present results and final conclusions , where we present an overview of the major points found in the search , and we believe that there is a good level of interaction and mediation in current MCCV , but that there is room for improvement, especially in question interaction, where forums and chats to exchange experiences and clarify doubts , which would have a greater attention to its developers, and also, there is a need for a greater number of tools to use visual deficintes as speakers and increased sources. This study, we are sure, will be useful to science in order to address a point still little studied in graduate programs in education major public universities in Brazil. And finally, we believe it is useful to society, in terms of provision of references for further study and clarification on this matter. / O intuito desse trabalho é apresentar os resultados de nossa pesquisa sobre os museus e centros culturais virtuais (MCCV), mais especificamente sobre suas funções de interação e mediação entre o sujeito e o conhecimento. Achamos apropriado discutir este assunto por dois motivos básicos: primeiro, vivemos numa sociedade globalizada, interligada pela rede da internet, onde todo tipo de negócio, entretenimento, comunicação e até mesmo atividades educacionais estão sendo veiculados e acessados por pessoas de todo o mundo. Segundo: vemos um grande crescimento dos chamados sites educativos, em especial os sites dos MCCVs, nosso objeto de estudo. Dessa forma, objetivamos responder às seguintes perguntas: Quais os níveis de interação e mediação encontrados nos MCCV? Os MCCVs podem ser realmente classificados como mediadores entre os sujeitos e o conhecimento? Será que podemos efetivamente aprender algo com estes MCCVs? Para responder a tais perguntas, buscamos identificar e caracterizar os MCCVs; identificar suas origens, linguagens e configurações constitutivas nas sociedades grafocêntricas digitais; analisar as tecnologias adotadas no ensino‐aprendizagem; analisar as teorias de Vygotsky, Freire e outros, a respeito de interação, mediação, aprendizado, educação etc. Por fim, avaliamos o nível técnico de navegação nos sites dos MCCVs, bem como o nível de interação e mediação encontrado nestes. Nos resultados obtidos, exibimos um apanhado geral dos principais pontos encontrados na pesquisa, e consideramos que existe um bom nível de interação e mediação nos atuais MCCVs. Concluímos, entretanto, que ainda há campo para melhorias, em especial no quesito interação. Para isto, fóruns e chats para a troca de experiências e esclarecimento de dúvidas teriam que ter uma atenção maior de seus desenvolvedores, além de haver necessidade de um maior número de ferramentas para uso dos deficientes visuais, como alto‐falantes e aumento de fontes. Este estudo, temos certeza, será de grande valia para a ciência, por abordar um ponto ainda pouco estudado nos programas de pós‐graduação em educação das principais universidades públicas do Brasil. E finalmente, cremos ser de grande ajuda para a sociedade, em termos de disponibilização de referências para futuros estudos sobre este assunto.

Made available in DSpace on 2014-12-17T14:55:52Z (GMT). No. of bitstreams: 1 ClaudioAS_DISSERT.pdf: 2379166 bytes, checksum: 5b4b80168ceb2bc863c332561e1b18ad (MD5) Previous issue date: 2011-07-26 / The use of graphical objects three-dimensional (3D) multimedia applications is gaining more space in the media. Networks with high transmission rates, computers with large processing and graphics boost and popularize such three-dimensional applications. The areas of 3D applications ranging from military applications, entertainment applications geared up for education. Within the applications related to education, we highlight the applications that create virtual copies of cultural spaces such as museums. Through this copy, you can virtually visit a museum, see other users, communicate, exchange information on works, etc. Thereby allowing the visit museums physically distant remote users. A major problem of such virtual environments is its update. By dealing with various media (text, images, sounds, and 3D models), its subsequent handling and update on a virtual environment requires staff with specialized knowledge. Speaking of museums, they hardly have people on your team with this profile. Inside the GT-MV (Grupo de Trabalho de Museus Virtuais), funded by RNP (Rede Nacional de Ensino e Pesquisa) propose a portal for registration, amendment and seen collaborative virtual museums of Brazil. The update, be it related to work or physical space, a system with a national scale like this, would be impossible if done only by the project team. Within this scenario, we propose the modeling and implementation of a tool that allows editing of virtual spaces in an easy and intuitive as compared with available tools. Within the context of GT-MV, we apply the SAMVC (Sistema de Autoria de Museus Virtuais Colaborativos) to museums where curators build the museum from a 3D floor plan (2D). The system, from these twodimensional information, recreates the equivalent in three dimensions. With this, through little or no training, team members from each museum may be responsible for updating the system / A utiliza??o de objetos gr?ficos tridimensionais (3D) em aplica??es multim?dias vem ganhando cada vez mais espa?o nos meios de comunica??o. Redes com altas taxas de transmiss?o, computadores com grande capacidade de processamento gr?fico impulsionam e popularizam tais aplica??es tridimensionais. Os dom?nios das aplica??es 3D variam desde aplica??es militares, entretenimento at? aplica??es voltadas para educa??o. Dentro das aplica??es voltadas a educa??o, destacamos as aplica??es que criam c?pias virtuais de espa?os culturais, como museus. Atrav?s dessa c?pia, o usu?rio pode visitar virtualmente um museu, perceber outros usu?rios, se comunicar, trocar informa??es sobre obras, etc. Dessemodo, possibilitando a visita remota demuseus fisicamente distantes dos usu?rios. Um problema de tais ambientes virtuais reside na atualiza??o do seu conte?do. Por lidar com m?dias diversas (texto, imagens, sons, e modelos 3D), a sua manipula??o e conseq?ente atualiza??o em um ambiente virtual exige pessoal com conhecimento especializado. Em se falando de museus, eles dificilmente possuem em sua equipe pessoas com tal perfil. Dentro do projeto GT-MV (Grupo de Trabalho de Museus Virtuais), financiado pela RNP (Rede Nacional de Ensino e Pesquisa) propomos um portal web para o cadastro, altualiza??o e visita colaborativa de museus virtuais do Brasil. A atualiza??o, seja ela relacionada a obras ou espa?o f?sico, de um sistema com escala nacional como esse, ficaria impossibilitada se realizada apenas pela equipe do projeto. Dentro desse cen?rio, propomos a implementa??o de uma ferramenta que permita a edi??o de espa?os virtuais de uma maneira f?cil e intuitiva, se comparado com as ferramentas atualmente dispon?veis. Dentro do contexto do GT-MV, aplicamos o SAMVC (Sistema de Autoria deMuseus Virtuais Colaborativos) a museus onde os curadores constroem o museu 3D a partir de uma planta baixa (2D). O sistema, a partir dessas informa??es bidimensionais, recria o equivalente em tr?s dimens?es. Com isso, atrav?s de pouco ou nenhum treinamento, membros das equipes de cada museu podem ficar respons?veis pela sua atualiza??o no sistema

I dagens samhälle har fler och fler verksamheter inom kulturkontexten utforskat nya sätt att presentera sitt innehåll för publiken. Ett sådant är webbaserade virtuella turer där möjlighet skapas för en intresserad allmänhet att besöka unika platser, ta del av kunskaper på ett interaktivt sätt och pröva nya sätt att besöka ett museum eller en historisk plats. För att locka besökare, och vara ett komplement till vanliga museer och platser med kulturarv, behöver dessa turer skapa en virtuell miljö där användaren upplever ett sömlöst flow och känner en stark inlevelse, engagemang och närvaro i den virtuella platsen. Samspelet mellan dessa element anses vara viktiga för individens helhetsupplevelse och användarupplevelse av webbaserade virtuella turer. Därför ligger intresset i den här studien på att undersöka hur en känsla av närvaro, inlevelse och engagemang påverkar användarupplevelsen under sådana turer. Genom analys av dessa element var studiens mål att utveckla riktlinjer för att uppnå en god användarupplevelse och förbättra värdet av webbaserade virtuella turer. För att besvara studiens forskningsfrågor tillämpades kvalitativa och en kvantitativ metod. Datainsamlingen baserades på en specifik webbaserad virtuell tur genom världens största grotta, Son Doong. Studiens kvalitativa metoder i form av användartester och semistrukturerade intervjuer omfattade tio informanter. Den kvantitativa metoden System Usability Scale (SUS) kompletterade det empiriska materialet med information om användbarheten av den testade turen.  Medan resultatet av SUS demonstrerade en hög grad av användbarhet av den studerade turen, visade de samlade resultaten av användartest och intervjuer på vilket sätt känslan av närvaro, inlevelse och engagemang påverkar användarupplevelsen. Studiens resultat indikerar att en god användarupplevelse av webbaserade virtuella turer kan uppnås genom god navigation, spännande berättande, variation vid presentation av innehållet, möjlighet att interagera med den virtuella miljön, individanpassad upplevelse och bred funktionalitet. Dessa insikter från studiens datainsamling har sammanställts i ett antal riktlinjer som ger förslag på vad en webbaserad virtuell tur kan innehålla för att skapa en god användarupplevelse. / Nowadays, more and more organizations within the cultural context have been exploring new ways of presenting their content to the audience. One such way is web-based virtual tours that create opportunities for the interested public to discover unique places, obtain new knowledge in an interactive way or try an entertaining way to visit a museum or a historical place. To attract visitors and be a complement to regular museums and places of heritage, these tours need to create a virtual environment where users experience a seamless flow and feel a strong sense of immersion, engagement, and presence in the virtual place. The synergy between these factors is considered to be an important one for user experience in web-based virtual tours. Therefore, the interest of this study lies in exploring how a sense of presence, immersion, and engagement influence user experience in these tours. By analyzing these elements, the study’s goal was to develop guidelines that would help achieve a good user experience and enhance the value of web-based virtual tours. To answer the research questions, the study applied qualitative and quantitative methods. Data collection was based on a specific web-based virtual tour of the World's largest cave, Son Doong. Qualitative methods of the study, user tests, and semi-structured interviews, included ten individuals. System Usability Scale (SUS), the quantitative method of the study, completed the empirical material with information regarding the usability of the tested virtual tour.  While the result of SUS demonstrated a good level of usability of the studied tour, the collected results from the user tests and interviews revealed in what way and how the sense of presence, immersion, and engagement influence the user experience. The study results indicate that a good user experience in web-based virtual tours could be achieved by good navigation, compelling storytelling, variation in presenting the content, opportunities to interact with the virtual environment, customization of own experience, and broad functionality. These insights from the study results have been summarized in several guidelines that suggest what a web-based virtual tour should include to create a good user experience.

Doctor of Education / Department of Educational Leadership / Gerald D. Bailey / The purpose of this study was to create a handbook that would support museum professionals through the stages of planning, creating, and evaluating a user-centered eMuseum. Planning, Creating, and Evaluating eMuseums: A Step by Step Handbook for Museum Professionals was developed using the research and development methodology (R&D) developed by Borg and Gall (1989). The seven steps in the R&D cycle used in this study included: 1) research analysis and proof of concept, 2) product planning and design, 3) preliminary product development, 4) preliminary field testing, 5) revision of the prototype, 6) main field testing, and 7) revision of the final product. A prototype of the handbook was developed and then evaluated by experts in digital libraries or museum informatics in the preliminary field test. Revisions were made to the handbook based on their feedback. The handbook was then distributed to museum professionals for the main field test. Feedback from the main field test was used to create the final product. Major conclusions from the study were: 1. There was a need for a handbook to guide museum professionals through the steps of developing an eMuseum. Museum leaders indicated a desire to create a stronger online presence for their museums, but did not know how to begin the process. 2.The handbook was most useful to museum professionals. Originally, the handbook was intended for an audience broadly defined as "information professionals", which included both library and museum professionals. 3.Museum leaders and community stakeholders could partner to create eMuseums. Stakeholders included educators who wanted to use eMuseums to incorporate standards-based curriculum into their classroom or graduate students in education looking for collaborative projects to advance their study. 4.Finding new ways to reach audiences was important to museum leaders. Museum leaders were aware that the majority of their visitors expected to find information about their museum on the Internet and wanted to find ways to reach these audience members. 5.Museum professionals found resources listed in the book to be useful. The handbook worked effectively as a reference guide for creating an eMuseum.