User Experience Evaluation
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Recent papers in User Experience Evaluation
— How young museum visitors learn from cultural experiences and, above all, how can technologies enhance the museum visit to improve memorization and provide high-profile educational moments? This paper, focusing on the " Keys To Rome "... more
— How young museum visitors learn from cultural experiences and, above all, how can technologies enhance the museum visit to improve memorization and provide high-profile educational moments? This paper, focusing on the " Keys To Rome " exhibition held at the Imperial Fora Museum (Rome), discusses about the educational potential of digital technologies applied to Cultural Heritage together with the effectiveness of mixing up museum collections and technological applications. A tailor-made user experience evaluation has been designed for high school students according to the museum visit path. The evaluation programme, its strategy, tools and preliminary results will be illustrated in this work, providing a promising scenario in which operate to empower digital cultural products in term of learnability.
This paper introduces an approach for evaluating user interfaces built on visual rhetoric and the rhetorical notion of function. A personal informatics mobile application has been selected to exemplify the application of this approach.... more
This paper introduces an approach for evaluating user interfaces built on visual rhetoric and the rhetorical notion of function. A personal informatics mobile application has been selected to exemplify the application of this approach. Through the results of this example evaluation, this paper discusses the consequence of applying a rhetorical evaluation to a user interface. In this discussion, it is observed that inspecting the function performed by interface components takes into account experiences, communication, and meaning. In addition, it fosters reflection and criticism.
http://dx.doi.org/10.1145/2639189.2641209
http://dx.doi.org/10.1145/2639189.2641209
- by Omar Sosa-Tzec and +1
- •
- Semiotics, Human Computer Interaction, Rhetoric, Design
Presentation of the paper selected for the "Virtual Achaeology" conference 2018, S.Petersburg, Russia.
Even today the majority of museums are designed as containers of objects, with the goal to preserve and make their shape and material aspect accessible to the public (not the sensory one that is neutralized behind a barrier of... more
Even today the majority of museums are designed as containers of objects, with the goal to preserve and make their shape and material aspect accessible to the public (not the sensory one that is neutralized behind a barrier of inaccessibility). The relationships established among the objects are of typological and chronological relevance. Their being related to a sphere of life, to a perceptive and symbolic universe, patterns of behaviour, actions and living people, is often overlooked. The reconstruction of senses and symbolic dimensions that are beyond the object's appearance can instead take the visitor in the middle of a powerful experience.
The purpose of multimedia inside a museum is the creation of an artificial system that reflects technologically, symbolically, the sphere of life. Thus it embodies and transmits content that otherwise would not be perceptible, increasing the awareness and understanding of ourselves in the flow of history. Storytelling is the fundamental tool that allows us to recreate the context, to penetrate the form and meaning of things. Narration means creating a harmonic convergence of script, image, light, sound, mood and atmosphere, in order to compose an expressive unit into which the object is the protagonist, as both a starting and ending point. Indeed a dramaturgy takes place.
The more the essence of the message is conquered, the greater the emotional impact on the visitor will be. His ability to process thoughts, to understand and establish associations will turn on, but also his faculty to enter into a dimension of creativity and self-transformation. For this purpose a direction is needed, combining different languages and techniques from virtual reality, cinema, theatre, enlightenment and a team of professional personnel able to combine scientific accuracy of the content with its expressive translation.
A case study developed following these principles is the installation created under the CEMEC European project, Connecting European Early Medieval Collections, for an exhibition travelling across European Museums. It is dedicated to the Kunágota sword, belonged to an Avar warrior chief of the 7th century A.D., currently preserved in the Hungarian National Museum in Budapest, where the installation is now on display. A holographic showcase containing the real original artefact is integrated in a bigger projection wall. Multimedia contents and lights alternate inside the showcase and on the wall during the different moments of the experience. The installation uses techniques of illusion to make sensory aspects emerge and to favour the full immersion in the story.
The experience happens in a dark room of about 15 square meters, and it is composed by three main phases:
1. Wait, neutral vision of the exhibited object, the attention is focused on the artefact inside the showcase
2. Total vision, contextualization and dramatization of the object, through a big projection on the wall
3. Details, analytic narration regarding the objects’ figures and pieces, through a holographic projection inside the showcase, interacting with the real artefact.
The effectiveness of such digital storytelling system is tested through a user experience evaluation conducted at the Museum. Preliminary results reveal the concrete embodiment of visitors along all the storylines and the correspondent learning benefit. Attention and memorability are highly reached thanks to the context of fruition and the emotional narration.
The purpose of multimedia inside a museum is the creation of an artificial system that reflects technologically, symbolically, the sphere of life. Thus it embodies and transmits content that otherwise would not be perceptible, increasing the awareness and understanding of ourselves in the flow of history. Storytelling is the fundamental tool that allows us to recreate the context, to penetrate the form and meaning of things. Narration means creating a harmonic convergence of script, image, light, sound, mood and atmosphere, in order to compose an expressive unit into which the object is the protagonist, as both a starting and ending point. Indeed a dramaturgy takes place.
The more the essence of the message is conquered, the greater the emotional impact on the visitor will be. His ability to process thoughts, to understand and establish associations will turn on, but also his faculty to enter into a dimension of creativity and self-transformation. For this purpose a direction is needed, combining different languages and techniques from virtual reality, cinema, theatre, enlightenment and a team of professional personnel able to combine scientific accuracy of the content with its expressive translation.
A case study developed following these principles is the installation created under the CEMEC European project, Connecting European Early Medieval Collections, for an exhibition travelling across European Museums. It is dedicated to the Kunágota sword, belonged to an Avar warrior chief of the 7th century A.D., currently preserved in the Hungarian National Museum in Budapest, where the installation is now on display. A holographic showcase containing the real original artefact is integrated in a bigger projection wall. Multimedia contents and lights alternate inside the showcase and on the wall during the different moments of the experience. The installation uses techniques of illusion to make sensory aspects emerge and to favour the full immersion in the story.
The experience happens in a dark room of about 15 square meters, and it is composed by three main phases:
1. Wait, neutral vision of the exhibited object, the attention is focused on the artefact inside the showcase
2. Total vision, contextualization and dramatization of the object, through a big projection on the wall
3. Details, analytic narration regarding the objects’ figures and pieces, through a holographic projection inside the showcase, interacting with the real artefact.
The effectiveness of such digital storytelling system is tested through a user experience evaluation conducted at the Museum. Preliminary results reveal the concrete embodiment of visitors along all the storylines and the correspondent learning benefit. Attention and memorability are highly reached thanks to the context of fruition and the emotional narration.
Even today the majority of museums are designed as containers of objects, with the goal to preserve and make their shape and material aspect accessible to the public (not the sensory one that is neutralized behind a barrier of... more
Even today the majority of museums are designed as containers of objects, with the goal to preserve and make their shape and material aspect accessible to the public (not the sensory one that is neutralized behind a barrier of inaccessibility). The relationships established among the objects are of typological and chronological relevance. Their being related to a sphere of life, to a perceptive and symbolic universe, patterns of behaviour, actions and living people, is often overlooked. The reconstruction of senses and symbolic dimensions that are beyond the object's appearance can instead take the visitor in the middle of a powerful experience. The purpose of multimedia inside a museum is the creation of an artificial system that reflects technologically, symbolically, the sphere of life. Thus it embodies and transmits content that otherwise would not be perceptible, increasing the awareness and understanding of ourselves in the flow of history. Storytelling is the fundamental ...
The use of labels in images represents the basics of visual object presentations that we are all familiar with. However, few know that automatic label placement in 2D or 3D space belongs to the set of NP-complete and NP-hard problems.... more
The use of labels in images represents the basics of visual object presentations that we are all familiar with. However, few know that automatic label placement in 2D or 3D space belongs to the set of NP-complete and NP-hard problems. While state-of-the-art algorithms such as hedgehog labeling already produce incredible coherent results in real-time interactive applications, they were only designed for static and non-deformable objects. Therefore, their performance decreases when combined with the dynamic and model-deforming the 3D model presentation techniques such as exploded diagrams a.k.a. exploded views, which present the structure of 3D model by "exploding" their parts. We propose an extension of hedgehog labeling to work with exploded views by introducing clustering of model exploded parts and their labels. Clustered hedgehog labeling uses the explosion information to separate 3D space into sections belonging to individual label clusters, each running hedgehog label...