AR exhibitions – volume sculptures and interactive artefacts
Augmented Reality (AR) content can add value to any museum or art gallery, but you need to use interactive digital features wisely. An AR exhibition offers a variety of interactive solutions that offer different ways to engage people and create favourable opportunities for participation. Here are seven augmented reality ideas we have seen or created around the world. You decide what is best for the artist collection (Adzhiev et.al 2003).
“Augmented reality” can be defined in two different ways. The first definition refers to the category of on-screen display “Head Mounted Display (HMD)” systems. The second definition refers to the use of an HMD-like system and therefore includes large screens and screens. Most museums have innumerable archives or collections of cultural monuments that cannot be easily and cheaply displayed; museums usually do not have exhibition space. Our system allows libraries to create digital objects, create 3D models, manage digital information created with XML, and visualize it in augmented reality (AR) environments (Vom Lehn and Heath 2005). Museums can digitize their collections in a number of ways: using advanced measurement software, a hardware photocopying system2, laser technology, or manually using a 3D model (such as Maya or 3ds). Light measurements and laser models are now advanced research, but manual 3D modelling is very time consuming and knowledge-intensive.
The “software architecture” is created around several key elements: the “AR Tool Kit tracking library, its own custom OpenGL representing engine, an XML schema, and 3ds max scripts that facilitate modelling”. Dimensional objects are produced with a modified version of the high-performance 3ds max software package, where the user interface is modified with scripts for exemplary collection objects. Virtual model collection objects are created using the “OpenGL API”. “AR Toolkit’s” measurement function records real-time video and divides it into frames and calculates real-time calibration changes to cover the virtual model in a real desktop environment (Dziekan 2011).
The AR allows users to associate certain virtual types with signals. Users, like archaeologists, can now use HMDs or exhibitions to explore virtual models in the context of real objects. You can expand this scene by adding other brands so that there are no more virtual models or physical comments from your desktop – imagine your desktop is a flat tablet. “A standard I / O port (mouse or keyboard) communicates with the 3D model in real time”. It is especially easy to work with virtual objects with six degrees of freedom on the x, y and z axes. In addition, it is possible to switch between different modes of transport (e.g. wireframe or solid mode), different texture techniques can increase the sense of reality (simple or complex textures) and finally, you can control the lighting conditions (Dent 2014).
“Augmented reality” allows these digital works to be transmitted on people’s mobile screens. Augmented reality offers visitors the opportunity to learn at their own pace and pace in depth. People can find out more about exhibitions or works that interest them through the AR app. They may also not use it and stick to their explanations.
References
Adzhiev, V., Comninos, P. and Pasko, A., 2003. Augmented sculpture: Computer ghosts of physical artefacts. Leonardo, 36(3), pp.211-219.
Vom Lehn, D. and Heath, C., 2005. Accounting for new technology in museum exhibitions. International Journal of Arts Management, pp.11-21.
Dziekan, V., 2011. Virtuality and the art of exhibition: Curatorial design for the multimedia museum. Intellect Books.
Dent, P. ed., 2014. Sculpture and touch. Ashgate Publishing, Ltd..
