Muzeji su neformalna okruženja za ucenje, u kojima je ucenje istinski motivirano i procesirano preko znatiželje, promatranja i raznih aktivnosti. Proces takva ucenja može biti drugaciji od procesa ucenja koje vežemo uz formalna okruženja. Posebna prilika koju muzeji nude jest eksperimentalna priroda ucenja koja se temelji na susretima sa stvarnim objektima. U neformalnim okruženjima kognitivno i afektivno ucenje su povezani i mogu se nadograditi. Cilj ovog rada bio je istražiti stavove studenata o ucenju u muzeju, njegovoj ucinkovitosti i pozitivnim konotacijama na odgoj i obrazovanje djece. Istraživan je utjecaj varijable spola na oblikovanje stavova. U istraživanju je sudjelovalo 380 studenata, od toga 140 muskaraca i 240 žena. Studenti su visoko ocijenili znacaj takva nacina ucenja, smatraju ga ucinkovitim i potrebnim u odgoju i obrazovanju ucenika. Dobiveni rezultati trebali bi aktualizirati temu poticanja sveobuhvatnije suradnje muzeja i odgojno-obrazovnih ustanova.

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Learning at the Museum

The SAGE Handbook of Online Research Methods

After decades of digitization, large cultural heritage collections have emerged on the web, which contain massive stocks of content from galleries, libraries, archives, and museums. This increase in digital cultural heritage data promises new modes of analysis and increased levels of access for academic scholars and casual users alike. Going beyond the standard representations of search-centric and grid-based interfaces, a multitude of approaches has recently started to enable visual access to cultural collections, and to explore them as complex and comprehensive information spaces by the means of interactive visualizations. In contrast to conventional web interfaces, we witness a widening spectrum of innovative visualization types specially designed for rich collections from the cultural heritage sector. This new class of information visualizations gives rise to a notable diversity of interaction and representation techniques while lending currency and urgency to a discussion about principles such as serendipity, generosity, and criticality in connection with visualization design. With this survey, we review information visualization approaches to digital cultural heritage collections and reflect on the state of the art in techniques and design choices. We contextualize our survey with humanist perspectives on the field and point out opportunities for future research.

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Visualization of Cultural Heritage Collection Data: State of the Art and Future Challenges

The Ethics of Cultural Appropriation

To promote engagement, recommendation algorithms on platforms like YouTube increasingly personalize users’ feeds, limiting users’ exposure to diverse content and depriving them of opportunities to reflect on their interests compared to others’. In this work, we investigate how exchanging recommendations with strangers can help users discover new content and reflect. We tested this idea by developing OtherTube—a browser extension for YouTube that displays strangers’ personalized YouTube recommendations. OtherTube allows users to (i) create an anonymized profile for social comparison, (ii) share their recommended videos with others, and (iii) browse strangers’ YouTube recommendations. We conducted a 10-day-long user study (n = 41) followed by a post-study interview (n = 11). Our results reveal that users discovered and developed new interests from seeing OtherTube recommendations. We identified user and content characteristics that affect interaction and engagement with exchanged recommendations; for example, younger users interacted more with OtherTube, while the perceived irrelevance of some content discouraged users from watching certain videos. Users reflected on their interests as well as others’, recognizing similarities and differences. Our work shows promise for designs leveraging the exchange of personalized recommendations with strangers.

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OtherTube: Facilitating Content Discovery and Reflection by Exchanging YouTube Recommendations with Strangers

Sustainability in Cultural Heritage (CH) is a complex question that needs to be addressed by a group of experts tackling the different issues. In this light, the present work wishes to provide a multi-level analysis of the sustainability in CH, using as an example a recent European H2020 project (CrossCult) and the lessons learnt from its design, implementation and evaluation. The sustainability of CH has qualitatively changed over the last few years, under the developments in digital technology that seems to affect the very nature of the cultural experience. We discuss sustainability in venues using digital technologies, covering a span of needs of small/unknown and large/popular venues, which try to enhance the visitor experience, attract visitors, form venue networks, etc. Moreover, we explore issues of sustainability of digital content and its re usability through holistic design. Aspects of technology, human networks and data sustainability are also presented, and we conclude with the arguments concerning the sustainability of visitor reflection, the interpretation of social and historical phenomena and the creation of meaning.

https://www.mdpi.com/2071-1050/12/4/1666/pdf

On how technology-powered storytelling can contribute to cultural heritage sustainability across multiple venues. Evidence from the CrossCult H2020 Project

This paper introduces a mobile museum guide that has been designed for the National Gallery in London with the special goal of triggering reflection of the visitor. We also present the results obtained from a first experiment. The underlying postulate is that visitors are more prone to reflection and more interested by the collection in a museum if they can discover it through other facets than those highlighted solely in the museum, and if this discovery is personalised for each of them. The smart guide includes means to personalise a visit by modelling the user preferences and behaviour, and builds recommendations for stories or groups of paintings based on the user profile and reflective topics.

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A Museum App to Trigger Users' Reflection

We present preliminary findings regarding the increasing use of Info-Vis tools and semantically structured data by cultural heritage institutions. This sector faces a number of challenges in developing best practices for publishing Linked Data, including the presentation of their digital cultural heritage collections and the visualization of their multidimensional hidden histories. We suggest that, as these institutions' interest in Semantic Web technologies grows and associated applications are more widely adopted, the need to provide InfoVis tools for efficient overview and exploration of cultural data increases. We postulate that changes in the paradigms for interaction with cultural datasets are also needed, with more focus on users' needs and cognitive processes. We suggest that by taking into account human information processes, better cognitive support can be introduced via InfoVis tools for Linked Data, thus reducing the cognitive load experienced by users.

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Cognitive-based visualization of semantically structured cultural heritage data

This paper describes a working example of semantically modelling cultural heritage information and data from the National Gallery collection in London. The paper discusses the process of semantically representing and enriching the available cultural heritage data, and reveals the challenges of semantically expressing interrelations and groupings among the physical items, the venue and the available digital resources. The paper also highlights the challenges in the creation of the conceptual model of the National Gallery as a Venue, which aims to i) describe and understand the correlation between the parts of a building and the whole; ii) to record and express the semantic relationships among the building components with the building as a whole; and iii) to be able to record the accurate location of objects within space and capture their provenance in terms of changes of location. The outcome of this research is the CrossCult venue ontology, a fully International Committee for Documentation Conceptual Reference Model (CIDOC-CRM) compliant structure developed in the context of the CrossCult project. The proposed ontology attempts to model the spatial arrangements of the different types of cultural heritage venues considered in the project: from small museums to open air archaeological sites and whole cities.

https://www.mdpi.com/2571-9408/2/1/42/pdf

Semantic Representation and Location Provenance of Cultural Heritage Information: the National Gallery Collection in London

Semantic search engines improve the accuracy of search results by understanding the meaning and context of terms as they appear in web documents. But do they also improve the presentation of search results? We discuss this research question and attempt to address it by evaluating two semantic search engines: Sig.ma and Kngine. Our analysis is based on the theory and methods of explorative evaluation studies, the inspection evaluation approach in information visualization, user-oriented evaluation studies, and on quantitative data analysis. Our main conclusion is that visualization used in semantic search engines improves the understanding of search results and the overall search experience by exploiting the semantics of web data.

Kalliopi Kontiza

Papers

On how technology-powered storytelling can contribute to cultural heritage sustainability across multiple venues. Evidence from the CrossCult H2020 Project

A Museum App to Trigger Users' Reflection

Cognitive-based visualization of semantically structured cultural heritage data

Semantic Representation and Location Provenance of Cultural Heritage Information: the National Gallery Collection in London

Web Search Results Visualization: Evaluation of Two Semantic Search Engines