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By CHARLOTTE COATES

Augmented reality is the process of using technology to superimpose images, text or sounds on top of what a person can already see. It uses a smartphone or tablet to alter the existing picture, via an app. The user stands in front of a scene and holds up their device. It will show them an altered version of reality. There are many ways that museums could be using augmented reality.

A few of the most well-known applications of AR technology are from the gaming world. For example, Pokémon Go, the game where users can ‘catch’ Pokémon hiding in the world around them. Animated creatures are superimposed onto what players can see through their device’s camera. The technology makes them appear as if they are existing in the real world. The app has been downloaded almost 11.5 million times. This shows that AR is accessible, and has the potential to reach a huge audience.

What is the difference between augmented reality and virtual reality?

Virtual Reality offers total immersion in a different reality. However, AR shows reality and an altered version side by side. VR replaces what the user sees with an alternate reality. AR adds to what the user can already see. This means it can be useful for annotating scenes and providing extra information. It is also used to put scenes into context and highlight contrasts with the current reality. VR requires specialist technology, such as headsets, controllers and sensors. AR experiences only need a smartphone or tablet and are downloadable as apps.

How can museums use augmented reality?

There are many possibilities for the use of AR in museums. The most straightforward way is to use it to add explanations of pieces. This means visitors will get more information when they view exhibitions using AR. Museums could even use it to display digital versions of artists next to their work. These 3D personas are then able to provide a narration. AR gives an opportunity to add a third dimension to displays, bringing objects or scenes to life. There are already many institutions around the world using AR. These projects bring something new to existing collections and attract wider audiences. Here are some interesting ways that museums are using augmented reality.

Muséum national d’Histoire naturelle

In June 2021, the Muséum national d’Histoire naturelle in Paris launched an Augmented Reality experience using Microsoft’s Hololens. The project called “REVIVRE” (“To Live Again”) let visitors come face to face with digital animals which in the real world are now extinct.

The National Gallery

In 2021, The National Gallery in London looked to take the collections of the National Gallery, National Portrait Gallery, Royal Academy of Arts beyond their walls of the museum with an Augmented reality experience which members of the public could access through their phones. Users used an app to activate the artworks which were marked with QR codes on busy streets in central London.

The National Museum of Singapore

The National Museum of Singapore is currently running an immersive installation called Story of the Forest. The exhibition focuses on 69 images from the William Farquhar Collection of Natural History Drawings. These have been turned into three-dimensional animations that visitors can interact with. Visitors download an app and can then use the camera on their phone or tablet to explore the paintings.

The family-friendly installation uses technology to provide a learning experience. Much like Pokémon Go, visitors can hunt for and ‘catch’ items. In this case, these items are the plants and animals within the paintings. They can then add them to their own virtual collection as they walk around the museum. The app shows more information about them once they have been collected. Users can learn facts such as habitat, diet and how rare the species are.

The William Farquhar Collection of Natural History Drawings is one of the museum’s most important collections. Created by the Japanese digital art collective teamLab, this AR project brings the drawings to life. Audiences can interact with and explore the images in an exciting new way.

The Art Gallery of Ontario, Toronto

In July 2017, the AGO worked with digital artist Alex Mayhew to create an AR installation called ReBlink. Mayhew reimagined some of the existing pieces in the collection. This gave visitors the opportunity to view them in a new light.

Visitors used their phones or tablets to see the subjects come alive and be transported to our 21st-century reality. For example, the painting Drawing Lots by George Agnew Reid depicts three characters. Their heads bend over their game together in a peaceful spot. In Mayhew’s modern version, the three are separate and absorbed in phone screens of their own. Smoky traffic passes by behind. Mayhew is interested in the encroachment of technology on modern life. In his view, we are constantly bombarded by images and as a result, we consume art at a more rapid pace.

By using AR for this project, the artist hoped to turn technology into a way to engage rather than distract. The exhibition aimed to use the app to get people to look up, rather than look down. According to the AGO’s Interpretive Planner Shiralee Hudson Hill, 84% of visitors to this exhibition reported feeling engaged with the art. 39% looked again at the images after using the app.

The Smithsonian Institution, Washington D.C.

In 2017, the Smithsonian introduced AR technology to bring a whole new dimension to one of its oldest and most loved displays. Many of the skeletons in the museum’s Bone Hall have been on show since 1881. Now visitors can download a new app called Skin and Bone which shows these pieces in a new light.

13 skeletons feature in the app, which superimposes images to reconstruct the creatures. Users can see how skin and muscle would have looked over the bones, and how the animals would have moved. This gives them a unique glimpse into the history of the pieces and helps to bring the display to life. Visitors can use the app to see a vampire bat take flight, or an anhinga demonstrating how it would have fished.

“This app is all about sharing some of the untold stories behind one of the museum’s most iconic collections,” said Robert Costello. He is the producer of the app and national outreach program manager at the Museum of Natural History.

The Pérez Art Museum, Miami

In December 2017, PAMM worked with artist Felice Grodin. Together they created the first fully augmented reality-powered art exhibition, called ‘Invasive Species’. In the examples above, AR adds to existing works. However, Grodin’s work for this project is completely digital. It is intended to be a full AR experience, conjuring images into an empty space.

The installation involved a series of digital images and species. These include eerie 3D models evoking creepy-crawlies, jellyfish or cryptic signs. Felice wanted to interact with the architecture of the building, and transform it. The exhibition is a comment on the fragility of our ecosystem and the threat of climate change. It transports visitors to a future version of the building, taken over by invasive species. For example, ‘Terrafish’ invades PAMM’s hanging gardens with a 49ft tall jellyfish-like structure. It is reminiscent of a non-native species currently populating the waters around Miami.

PAMM curator Jennifer Inacio believes that art can be a pathway to debate. She wanted the exhibition to lead to conversations, to engage viewers in a dialogue, “The uncanny works that the artist created are meant to pull viewers into the serious discussion of climate change, but in an engaging and interactive way.”

The Kennedy Space Centre, Merritt Island

AR can help visitors to understand historical events by making them appear in 3D. A great example of this is the Heroes and Legends exhibit in the Kennedy Space Centre. Here, an AR experience shows a key moment the history of America’s space programme.

In June 1966, astronaut Gene Cernan performed the second spacewalk in history. He later called it the ‘spacewalk from hell’. His spacesuit overheated and he went into an uncontrollable spin, unable to see. The display shows the Gemini 9 space capsule and uses AR to project a hologram of Cernan over it. Visitors can view the ordeal as he struggles to get back inside the capsule. There is also a voiceover from Cernan himself, describing his experience.

The exhibition uses AR holograms throughout. This technology gives faces and voices to the people who worked on the space programme. Visitors can hear stories from NASA legends told in their own words.

Are there any risks of using augmented reality in museums?

One of the concerns that PAMM had around its use of AR was the notion that technology can be isolating. Having visitors absorbed in the world on their phone and being in their own bubble would have run counter to what the artist wanted to achieve. In actual fact, it found that people were using the technology together. Groups were sharing screens and discussing what they could see. The exhibition even had the potential to engage strangers in conversation.

Another risk is that this new technology could exclude older generations. Digital natives and millennials are likely to take such installations in their stride. Older people could potentially struggle or feel left out. Again, PAMM found that this was not the case. Many of the visitors to their AR exhibition were aged 55+. This age group reported having a positive experience.

There have been some cases of unauthorised augmentations. The most famous example is from 2018 when a group of artists ‘took over’ MoMA’s Jackson Pollock gallery. If visitors downloaded the app, they were able to see how these artists had reimagined the paintings. This included showing one piece as an Instagram post touting for likes. The concept is not too different to some of the examples above. But in this case, the artists did not have the permission of the museum. They were seeking to make a commentary on the position of the museum as ‘cultural gate-keepers’.

Curators also need to be careful that AR installations don’t have an impact on the work of other artists. PAMM was careful to only place Grodin’s works in areas of the museum that were free of existing pieces, to avoid overwriting them.

What could the future hold for Augmented Reality in museums?

There are many exciting applications for augmented reality in the museum space. Virtual reality is still costly, prohibitively so in some cases. It needs a lot of specialist equipment. AR can provide a cheaper way to bring displays to life.

Museums and curators are already full of knowledge, and of the desire to engage people in a dialogue. Augmented reality is another tool that can communicate this knowledge. It invites visitors to find out more. A virtual rendition of an artist narrating his work has the potential to encourage more engagement. A skeleton that comes to life can help visitors understand new concepts. AR can even help contextualise history by blending the old and the new. For example, it can show historical scenes superimposed onto modern ones.

This technology can capture people’s attention and keep their focus on exhibitions for longer. Before opening their AR installation, the AGO did a survey. It discovered the average visitor to the museum’s collections spent on average only 2.31 seconds in front of each image. In a busy modern life where visitors are not always inclined to linger, museums can use AR technology to reach out and grab their attention.

Source: How Museums are using Augmented Reality - MuseumNext

How do museums and similar establishments use augmented reality? The sky’s the limit, and the Hnumber of ways to use AR apps increases day by day. the main factors that are important when it comes to implementing augmented reality are the museum type and the visitor experience you want to enhance. Depending on that, you can see variations in using this or that technology.

It is quite difficult to come up with a one-size-fits-all classification system for augmented reality in this case, but we did our best to identify the major ways of using augmented reality in museums.

Audio Augmented Reality

Audio tours had existed long before the augmented reality started appearing in museums. But how can we improve this experience even further?

If we take a look at a standard audio tour at an open-air museum, you can tell that there’s a lot of hassle involved. You have to pause and play the audio all the time, rewind it back and forth, which can ruin the overall impression.

But, with the potential of augmented reality, you can transform a simple audio tour into an immersive and memorable journey.

With the use of augmented reality apps and a smart headset, you can blend the information from all the sensors your phone has.

By tracking your position (GPS), the direction you look at (Gyroscope), your movement speed changes (Accelerometer), it is possible to create a 3D audio environment so that the visitor can actually understand where the sounds are coming from.

You can experiment by placing AR audio sources and change their volume based on the visitor’s actions.

The immersion level skyrockets drastically in comparison to standard tours.

Outdoor Exploration

Take the exploration experience out of the museum!

There are GPS-based augmented reality platforms that allow for creating interactive AR applications.

The mobile gaming industry has started using those as soon as it became possible. And Pokémon Go is a prime example of successfully using the location-based augmented reality apps for entertainment.

AR Markers

These should not be mistaken for QR codes. The latter can only be processed using a QR scanner, whereas the AR Markes trigger a particular process whenever captured by a camera through an augmented reality application. Basically, any two-dimensional image can be made into a marker you could use for the AR app.

Then, as soon as the marker is captured, AR apps can overlap an image, audio, a video, additional information or a 3D model.

AR Markers

Then, as soon as the marker is captured, AR apps can overlap an image, audio, a video, additional information or a 3D model.

Moreover, in case you cannot be located via a GPS signal or Wi-Fi, then using AR markers is the best strategy for such places.

It is the most common way of applying augmented reality in museums today. In the next section of our article, we’ll provide actual examples of the AR use cases so that you have a better idea of how it looks like.

Source: https://jasoren.com/how-to-use-augmented-reality-in-museums-examples-and-use-cases/

The Gartner Hype Cycle has long been applied to a range of innovations and technologies. Whether the cycle takes place over a matter of months or even decades, the same principles are borne out, time and again.

As anyone familiar with the five phases will know, the Hype Cycle entails:

An innovation trigger
A peak of inflated expectations
A trough of disillusionment
The slope of enlightenment
The plateau of productivity

While there’s plenty of room for speculation about where on this particular graph AR currently resides – be it working its way out of the trough or even moving beyond the plateau – there’s one thing that most of us can agree on: that the events of 2020 have accelerated that progress.

It’s arguable that the inflated expectations for AR peaked in 2016 as a result of the Pokemon Go craze that swept through countries around the world. Who can forget the news footage in the summer of 2016 as huge crowds of gamers converged on central park in New York in search of a rare Pokemon?

While many in the museum sector saw great crossover potential and an appetite for applications in arts and culture, there’s no doubt that the technology has also experienced its share of disillusionment since 2016 and that widespread adoption didn’t follow in short order.

Nevertheless, the last 5 years have given curators and programming teams the opportunity to experiment with AR and explore different ways to enhance and complement the traditional in-person experience. Without the hardware investment required of Virtual Reality, this more straightforward and less costly approach can make use of the hardware already in a visitor’s pocket – smartphones. With the simple download of an app, scanning of a QR code or similar entry point, AR can be incorporated into any museum experience or virtual visit. And it is this feature that has now made augmented reality particularly appealing as institutions look towards their own post-Covid futures.

In an environment where contactless visitor experiences are in demand across ticketing, shop purchases, guided tours and exhibition experiences, the value of AR in supporting both in-person visits and contributing to online content is almost certainly set to grow.

In fact, the pandemic has served to accelerate AR to such an extent that it has now officially left Gartner’s hype cycle – making more ground in the last 18 months than it perhaps has in the previous 5 years. By this methodology, the conclusion we can draw is that AR is now considered to be in a mature state. Or to use Gartner’s own explanation it has graduated from a “technology to watch” to “one to use”.

Augmenting the reality of a museum

For those less familiar with AR and its sibling technology VR, it’s worth a quick recap of the difference between the two. Some of the confusion between virtual and augmented reality is logical. It’s still relatively new technology in terms of its everyday application in public settings and as the technologies develop, there is often some element of overlap, which takes us into the realms of using the umbrella term: XR.

The main difference lies in the delivery. Augmented reality should be considered as an ‘alternate’ version of reality whereas VR is a completely immersive experience designed to take the user away from their present reality to somewhere completely different. It is the ‘alternate’ version of reality that makes AR more flexible when considered as part of a museums suite of engagement tools. AR can add new layers to what the user can already see, thereby helping deliver one of the main goals of any museum’s output – a layered experience to see, hear and feel.

For museums, the extra layer that of AR represents an additional dimension in which it is possible to provide complementary or supplementary information, new ideas, experiences and interactive elements. For example, museums can use AR technology to help visitors see how a dinosaur skeleton might have looked as a living, breathing animal through the lens of a smartphone. Or how about viewing a painting in person but also being able to access a 3D visualisation of the artist talking directly about the work using AR.

Whereas VR is about immersing visitors in a different world in which the exhibition exists, AR exists to enhance engagement through better understanding, greater access to information and digital tools to bring a subject into the visitor’s present reality.

Bringing the AR to ART

The Akron Art Museum in Ohia, USA, is one much lauded example of how AR can be used in a playful and community-focused way to help local residents access public art during the recent Covid-19 shutdown. Although the idea was actually dreamt up pre-Covid, the museums use of AR in the launch of Interplay: Art Play for All created the perfect lockdown activity for the 200,000 inhabitants of Akron.

The art gallery installed a range of freely available art posters throughout the city, enabling members of the public to interact with each piece of art using a QR code. Once scanned into a tablet or smartphone, each poster offers up different ways of interacting with the art on display. For example, the poster by Akron artist, Adana Tillman, allows users to play with elements of the original design to transform the final artwork and allow the public to use their own creativity and blend it with the artistic displays created by Tillman.

Interplay: Art Play for All has proved to be an engaging way to offer up a public-platform to experience AR technology in the arts. It proved a welcome respite for culture-starved residents looking for ways to keep themselves entertained during the repeated lockdowns of 2020 and 2021. Moreover, the fusion of technology and art showcased how creativity can be incorporated into AR to create a two-way sharing of information and ingenuity.

Further South, the Norton Museum of Art in West Palm Beach in Florida, has also launched a new AR app to help open up its art collection to visitors. Known as Norton Art+, the app will be available to anyone wishing to explore the art work of the museum using the AR format but will be delivered through tablets loaned to visitors as part of the entrance fee.

Although not necessarily conceived as a way to create new virtual entry points into the collection of the Norton Museum of Art for non-visitors, the app instead aims to enhance the visitor experience through a novel form of technology and focuses initially on a select number of artworks, including ‘Soundsuit’ by Nick Cave and ‘MOONRISE. East. April’ by Ugo Rondinone

Like in Akron, the app utilises AR technology to encourage users to fuse their own creativity with the displayed artwork and interact with pieces. It encourages users to play with textures or alter expressions of a sculpture’s face as well as move the piece to new settings to see how it can change the artwork itself.

It is hoped that Norton Art+ will help encourage greater engagement with contemporary art pieces and modern art in general – particularly amongst younger visitors. By transforming the gallery experience with augmented reality technology, it has helped developed an interaction with the piece that is not always possible in traditional gallery settings.

Black History and AR technology

In 2020, the global drive to increase awareness of the significance of Black history has inspired a new way of helping Black voices be heard in society. The Black Learning Achievement and Mental Health (BLAM) charity is a British organisation dedicated to history education and improving mental health through the UK’s primary and secondary schools.

To assist in their mission, they developed a unique AR app exploring the lives of key figures in black history that had been overlooked or misunderstood in terms of their contribution. Called History Bites, the app uses AR to present virtual statues of historical black figures in key locations as well as present information about their lives and achievements to help redress what BLAM feel is the omission of black figures and their contribution to history in the national curriculum.

It is hoped by using AR to create digital representations of key figures, users can engage with black history in a more accessible and digital format and hopefully opening up opportunities to learn more. Although traditionally delivered in school settings, BLAM’s initiative served to accommodate the lockdowns of 2020 and 2021 in the UK. London design studio Landmrk created the app on behalf of BLAM to deliver the narratives associated with black history without detracting from the message with gimmicky or unusual technology. The app is freely available to download and offers a blend of forward-thinking digital technology with a strong educational grounding to balance a need to both engage and inform.

Bringing AR to the ‘Gram

While museums have been successfully deploying AR technology across exhibitions for a number of years now, Instagram is using its own existing AR technology to help broaden access and improve visitor engagement on behalf of museums worldwide. Less of a bespoke feature and more of a broadening of its use, Instagram’s Spark AR platform was launched to help brands utilise AR tech in enhancing the customer experience to drive social-led sales. The flexibility of the technology has allowed Instagram to deliver a universal software solution to arts and culture organisations interested in exploring AR through 3rd party platforms.

Spark AR has traditionally been used to create filters for beauty and cosmetics companies to allow customers to effectively ‘try on’ products and looks using the in-app camera function. Applying this to museum settings has allowed the likes of the Palace of Versailles, Grand Palais and Smithsonian to offer AR functionality to millions of users through Instagram. The AR feature supports a close-up look of museum content and displays by accessing the museum Instagram profile and using the camera from its effects section. It allows users to virtually visit museums (particularly useful during the current lockdown situation) or enhance an in-person experience by drawing AR-led additional information and angles that may not be possible. All that is required Is an Instagram account to obtain an up close and personal look at the various content displayed throughout partnership museums.

The potential global application of Spark AR through the Instagram worldwide user base makes this a more universal example of AR for museums through a 3rd party application. Where it is restricted is in the level of access offered by museum partners to the likes of Instagram (owned by Facebook). Currently the number of exhibits available is limited and with museums more than likely looking to retain control over their own AR-led offerings in future, it is unlikely that we will see a full opening up of all exhibits and collections to receive the AR treatment via Instagram in future.

For now, however, the option to use Spark has created virtual access to museums using AR tech at a time when closures threated to close off access to visitors for an indefinite period of time. It might be AR light when it comes to the number of museums and exhibits available, but it’s a step in the right direction for a sector still settling into the right way to balance AR with the expectations of a visitor base it can’t wait to welcome back in full.

Source:

How Are Museums Putting the AR into Arts and Culture - MuseumNext

Here, you can get familiar with those museums that took a major step towards a fascinating and more enjoyable future of augmented reality learning and exploring. Each of them is unique and uses AR based on their primary focus.

The Cleveland Museum of Art

This is one of the most technologically advanced facilities of such kind. The Cleveland Museum of Arts perfectly combines and balances the latest AR and motion capture technologies to make the most out of its art pieces and artifacts.

It can boast interactive AR pottery making stands and digital painting canvases that will leave no child or adult indifferent.

The Museum of Celtic Heritage

The Museum of Celtic Heritage is located in Salzburg and is considered as one of the largest European museums of Celtic history.

They decided to go for a rather creative way of educating. You can use the Speaking Celt AR app if you want to be guided by an animated 3D model of a walking talking ancient Celt.

This AR “museum guard” can tell you a lot of interesting facts about the exhibits and Celtic history in general.

The Archaeological Park Carnuntum

Despite it being one of the largest untouched archeological landscapes and a gladiator school, it still has not been excavated. However, thanks to AR technologies, you have a chance to see this gladiator school in all its glory and real scale.

It is a good example that shows the outdoor AR in action.

Center on Contemporary Art

Located in Seattle, the Center on Contemporary Art had an art exhibition of 18 3D artists. Using the CoCA Pop-Up (AR)t AR app, the viewers can watch this three-dimensional artwork taking shapes and springing to life.

As you can see, each of the previously shown museums found its own way of utilizing augmented reality. And, in each of those cases, the level of interaction and overall satisfaction of their visitors has grown manifold.

More and more museums are trying to get the hang of augmented reality. With each passing day, the advantages of AR applications and technologies are becoming more distinct.

Adapted and translated from Maria Cristina Garbui’s article available here CREMIT

At the end of March, the work of the project realized by Corecom Regione Lombardia and the Università Cattolica di Milano, through its Research Centres on Media and Communication (OssCom) and on Media Education for Innovation and Technology (Cremit), under the scientific direction of Piermarco Aroldi and Pier Cesare Rivoltella, was concluded.

We share here the Padlet "ECD. Un'ipotesi per la scuola primaria" (A hypothesis for primary schools), which brings together all the design perspectives realised by the 232 teachers who took part in the course, who, divided into groups, experimented with devising activities to contribute to critical and responsible use of digital resources at school.

Faced with the projects that the trainees created for their classes, we asked ourselves: how can we make all citizens aware of the importance of cultural heritage in community life and the need for its protection and enhancement? (Panciroli, 2019)

Starting from a shared format, each working group drew up its own project framework and realised the artifacts linked to it to make its proposal even more spendable in the classroom, augmenting it digitally through the use of ad hoc apps.

The desire to be able to enjoy a didactic museum that would make it possible to immerse oneself in the works realised by the teacher-trainees prompted the team of trainers and trainees of the Media Education degree to get involved once again with a view to realising a real virtual didactic museum using Artsteps.

Artsteps is a web-based software released by Dataverse Ltd that allows users to create art galleries, museums and exhibitions within immersive settings. It can include both two- and three-dimensional artefacts, as well as videos, images, texts and hypertexts that can also be easily accessed through the use of VR (Virtual Reality).

The use of VR should be connected to the recursiveness of immersion and distancing processes (Rivoltella, Rossi, 2019) and, more generally, to the activation of experiential and reflexive processes.

In Artsteps, cultural heritage is revealed in relation to the environments that collect, preserve, display and communicate it. According to this perspective, the digital environment acquires particular relevance when it represents a privileged context for manipulation and experimentation (Panciroli, 2017).

The visitor, in fact, can:

adopt different subjective points of view to understand the characteristics of an artefact or the nature of a concept;
increase the conditions of authenticity of a task (e.g. visualise some rare animal species in an exploratory form in VR so that they are then able to recognise them in the field) (Garavaglia, 2019).

We therefore invite you to experience this by accessing the Padlet link "ECD. A hypothesis for the primary school" to explore the proposals of the schools that participated in the project.

Within each column of the Padlet itself, you will be able to click on the post of the educational museum created for each working group and thus access the educational museum created.

Enjoy the immersive experience and thanks to all those who made this project possible!

Bibliography

Garavaglia A. (2019), Ambienti di apprendimento. In: Tecnologie per l’educazione [a cura di] P.C. Rivoltella, P.G. Rossi. Milano: Pearson, pp. 111-124.

Panciroli C., Macauda A. (2019), Spazi digitali per educare al Patrimonio: il MOdE, Museo Officina dell’Educazione. In: Studi avanzati di educazione museale. Napoli: Edizioni Scientifiche Italiane, pp. 49 – 62.

Panciroli C., Macauda A. (2017), The space as an educational and a didactic tool of interpretation: the example of the atelier of “The child and the city”. «RICERCHE DI PEDAGOGIA E DIDATTICA», Vol. 12, pp. 131 – 140.

Rivoltella P.C., Rossi P.G. (2019), Il corpo e la macchina. Tecnologia, cultura, educazione Brescia: Scholé.

To find out more

On the 22nd of February, Cypriot Partners, CVAR Severis and CARDET, run the Multiplier Event of the MuseumAR project. The event was named “Afternoon at the museum” and it was advertised via facebook, instagram, emails as well as from door to door. The participants of the event had the opportunity to learn about the outcomes of the MuseumAR project, visit and sign up on the produced e-learning platform, and experience in real time the outputs of the project. Participants were given tablets, and once they scanned the dedicated QR code, they started the treasure hunt within the Museum that was developed for the purposes of the project. Overall the feedback received was positive and the minor suggestions collected were taken under consideration.

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How Museums are using Augmented Reality

How can museums use augmented reality

Outdoor Exploration

AR Markers

AR Markers

How Are Museums Putting the AR into Arts and Culture

Examples of Augmented Reality in Museums

"Digital civic education. A hypothesis for primary schools', the outcomes and designs of the experimental course in Lombardy

Cyprus Multiplier Event