ABSTRACT
With the spread of COVID-19, many cultural and artistic institutions around the world have been forced to temporally close doors to protect attendees from the transmission risks. These measures have instigated curators and creators to explore alternative ways to showcase artworks through the digitization of collections, thus allowing the general public to access art online during social isolation. This work, therefore, describes the digitization process of a Brazilian art gallery which adopted the 3D virtual tour format to grant access to its art exhibitions in both Web and virtual reality (VR) formats. Both the development process of the virtual gallery and its usability evaluation with participants of different backgrounds are presented. Although some suggestions for technical improvement were pointed out, preliminary results showed that there was general acceptance in using the technology as a functional digital resource to access artistic exhibitions remotely.
- Erkki Huhtamo. 2013. On the Origins of the Virtual Museum. In Parry, R. Museums in a Digital Age. Routledge.Google Scholar
- S. Hazan, S. Hermon, R. Turra, G. Pedrazzi, M., Franchi and M. Wallergard. 2014. M. In Theory design, European Virtual Museum Transnational Network of Excellence, pp. 1-52. Retrieved 28, August 2021 from http://www.v-must.net/sites/default/files/D3.1_update.pdfGoogle Scholar
- Marisa Enhuber. 2015. Art, space and technology: how the digitisation and digitalisation of art space affect the consumption of art - a critical approach. Digital Creativity. 26. 1-17.Google ScholarCross Ref
- Artsy. 2020. Retrieved 28, August 2021 from https://www.artsy.net/article/artsy-editorial-museums-finding-new-ways-connect-art-lovers-online-quarantineGoogle Scholar
- Hauser & Wirth. Retrieved 28, August 2021 from https://www.hauserwirth.com/stories/28281-artlab-new-technology-research-divisionGoogle Scholar
- Marc Prensky. 2012. From Digital Natives to Digital Wisdom: Hopeful Essays on Education. Corwin.Google Scholar
- Richard Hooper. 2013. Some New Possibilities for In-World Virtual Art Gallery Configuration. In International Conference on Cyberworlds, Yokohama, 2013, pp. 346-351, doi: 10.1109/CW.2013.82.Google ScholarDigital Library
- World Wide Web Consortium (W3C). Retrieved 28, August 2021 from https://www.w3.org/TR/WCAG20/Google Scholar
- James Katz and Daniel Halpern. 2015. Can Virtual Museums Motivate Students? Toward a Constructivist Learning Approach. In Journal of Science Education and Technology, 24. DOI: 10.1007/s10956-015-9563-7Google ScholarCross Ref
- Michele Dickey. 2005. Three-dimensional virtual worlds and distance learning: two case studies of Active Worlds as a medium for distance education. In Br J Educ Technol. 36(3):439–451. DOI: 10.1111/j.1467-8535.2005.00477.xGoogle ScholarCross Ref
- Dana L. Wanzer, Kelsey P. Finley, Steven Zarian and Noreen Cortez. 2020. Experiencing flow while viewing art: development of the Aesthetic Experience Questionnaire. In Psychology of Aesthetics, Creativity, and the Arts, 14(1), 113–124. DOI: 10.1037/aca0000203Google ScholarCross Ref
- Bob J. Witmer, Christian J. Jerome and Michael J. Singer. 2005. The factor structure of the Presence Questionnaire. In Presence, 298-312. DOI: 10.1162/105474605323384654Google ScholarDigital Library
- John Brooke. 1996. SUS - a quick and dirty usability scale. In Usability Evaluation in Industry, Jordan, P, Thomas, B, Weerdmeester, B, and McLelland, I. Taylor and Francis: London.Google Scholar
Index Terms
- Art Access in Pandemic Times:: 3D Digitization Process of an Art Gallery
Recommendations
Guarding Art Galleries: The Extra Cost for Sculptures Is Linear
SWAT '08: Proceedings of the 11th Scandinavian workshop on Algorithm TheoryArt gallery problems have been extensively studied over the last decade and have found different type of applications. Normally the number of sides of a polygon or the general shape of the polygon is used as a measure of the complexity of the problem. ...
Maximizing the guarded boundary of an Art Gallery is APX-complete
In the Art Gallery problem, given is a polygonal gallery and the goal is to guard the gallery's interior or walls with a number of guards that must be placed strategically in the interior, on walls or on corners of the gallery. Here we consider a more ...
The engagement of digital art with contemporary art
EVA '17: Proceedings of the conference on Electronic Visualisation and the ArtsDigital art is increasingly becoming engaged with contemporary art. Artists began using programming and technology to create art in the 1950s and 1960s and the revolutionary advances in digital technology have spawned new approaches to making art. ...
Comments