Many existing Virtual Reality (VR) applications in the Digital Cultural Heritage (DCH) domain are for education purposes. As educational VR DCH experiences become more prevalent, it becomes increasingly important to understand the user and learner experience of such installations. This work reports on a user study (n=30) evaluating three educational VR DCH experiences using three existing User experience ( UX) evaluation methodologies from related fields and three learning evaluation methodologies. A total of 31 participants were recruited for the experiment, resulting in a dataset of 30 valid records. Our research seeks to explore the relationship between UX and Learning experience (LX), and their impact on learning in VR DCH experiences. Our results suggest that UX and LX in educational VR DCH experiences can influence certain aspects of learning, such as retention, concentration, motivation, and flexibility. Additionally, specific aspects of the educational VR DCH experience captured evidence by three existing UX evaluation and three learning evaluation methodologies are identified. These include instrumental aspects (ease of use, learnability, efficiency, etc.), stimulation of new experiences, the role of interactions, immersion in VR DCH contexts and flexibility of learning pace and using learning materials.

Both museums and virtual museums go through a curation process for creating exhibitions, with a variety of methods available. These are often collaborative, requiring both cultural heritage professionals and designers or developers working together. Mixed reality has the potential to enhance this process for the developer and client, in the form of a collaborative mixed reality authoring tool. It is important to understand the process of collaborative development of cultural heritage applications so that the authoring tool could be designed to cater for these needs.In this paper, a user study is presented that analyses the process of delivering three cultural heritage projects by an experienced development company. As a result, a model that captures project stages and collaborative aspects with the clients is created and validated, existing bottlenecks are identified and three authoring tool concepts that could improve the process are generated and discussed. The resulting tool is proposed to aid the collaboration process during the prototype and initial design stages of the development process, which will aid future research.

Research suggests that serious games can be used as supplementary training tools for young people with complex mental health needs. This study aimed to co-produce a mobile-accessible serious game, ReGoal, in collaboration with young people (11-16 years) and an interdisciplinary team of academic experts and practitioners. ReGoal is aimed to serve as a supplementary tool for improving emotion regulation, goal-orientation, and executive functioning skills. This study consisted of three interlinked co-production phases. First, 122 participants, of which 34% had moderate to high conduct problems, completed an online survey about the role of gaming in managing their emotions. During the second phase, 16 young people attended three focus groups in which their lived experiences shaped the narrative of ReGoal. In the third phase, an online user survey gathered feedback from 72 young people playing the most recent prototype of ReGoal. The key findings suggest that young people valued playing ReGoal as a supplementary aid to improving their mood, increasing empathy towards peers and family, reducing anxiety, anger, and impulsivity, and understanding other people's emotions. Future research should test the applicability and feasibility of ReGoal in reducing behavioural problems with clinical and non-clinical samples.

With the increasing prevalence of educational eXtended Reality (XR) Cultural Heritage (CH) experiences, it becomes increasingly important to understand the user, and learner, experience of such installations and develop bespoke methodologies to capture and evaluate these experiences. Our work aims to expand the existing knowledge of User Experience (UX) in CH incorporating XR, especially for educational aspects inside, by displaying and analysing UX understanding and evaluation methods. Through investigation and research on UX work of applications described from various sources, this paper summarises the current trends, limitations, and challenges of UX evaluation in this field and represents the direction of future work.

Virtual Reality is used for creating immersive experiences with rich interactions in many application domains, from video games, simulations, and training, to cultural heritage and educational applications. Taking advantage of this technology, the experience in traditional museums can be enhanced with digital content, the museum or their collections can be replicated for remote visitors, or entirely new virtual museums can be created. In this paper, a demo of a multi-modal virtual museum is presented and interaction discussed from the point of view of a consumer and a virtual museum creator.

Museums are traditionally considered learning environments and are ordinarily used for non-formal education. Physical museums, while being irreplaceable, are limited to a physical space, requiring mobility and physical presence. In addition, traditional exhibitions are not designed for interaction and physical exploration of artefacts. With the focus being shifted from museum exhibits to visitors’ experience, utilization of emerging technologies and co-creation of virtual museums not only helps in preservation of cultural heritage, but enhances the dissemination, engagement, and experience, while addressing the mobility and the plurality of voices and perspectives represented. In this work, we designed and developed the School House Virtual Museum with tangible user interfaces based on participatory, interdisciplinary, and co-creative methods with students and a larger community of researchers, artists, and practitioners working on heritage and memory. In a user study with 62 participants, usability and user experience were explored and the potential contribution of such virtual museums to learning, based on critical, cross-disciplinary, and participatory dialogue, both in cultural and educational institutions/programs has been investigated. The results have confirmed that the system has been well designed and developed, and the user experience was largely positive. The responses from educators and students confirmed that the application holds potential as a learning and education tool in either museums, schools, or when used independently.

Virtual museums are an important medium for the preservation and dissemination of tangible and intangible cultural heritage as well as for education and public engagement. This is even more important now that focus is being shifted from museum exhibits to the visitors’ experience and the increased attention given to their mobility, and the plurality of voices and perspectives represented. To enhance experience and participation new techniques are being developed and multiple senses stimulated. This paper offers venues to unpack the potentials of VR as a pedagogic vehicle when creative and cross-disciplinary experimentation is employed in and around digital museums. Grounded in a particular site of memory, and co-produced with a ‘post-memory generation’, the School House Virtual Museum is associated with private and silenced memories of past civic resistance in Kosovo. Using written and orally narrated stories, images, videos and immersion within a virtually reconstructed physical space, the experience offers a means to explore spaces, narratives, and technologies relevant to a particular cultural memory and heritage. The main aim of the user study, with 37 participants presented in this work, was to investigate the design of the system, focusing on three aspects: usability, User Experience (UX) and education, and the effect of the tangible interface provided to one user group. The results are overall very positive and confirm that the UX holds potential as a learning and education tool whether in museums, schools, or when used independently.

In this paper we present details of a virtual tour and game for VR headset that are designed to investigate an interactive and engaging approach of applying VR to student recruitment for an undergraduate course. The VR tour employs a floating menu to navigate through a set of 360° panoramic photographs of the teaching environment and uses hotspot interaction to display further information about the course. The VR game is a fast-paced shooting game. The course information is embedded on cubes that the player needs to focus on and destroy. The game experience is expected to generate an engaging way to promote the course. This work in progress outlines the concept and development of the prototype, and discusses the next stages of testing in order to evaluate the effectiveness of applying VR to undergraduate student recruitment.

Interval recognition is an important part of ear training—the key aspect of music education. Once trained, the musician can identify pitches, melodies, chords, and rhythms by listening to music segments. In a conventional setting, the tutor would teach a trainee the intervals using a musical instrument, typically a piano. However, this is expensive, time consuming, and nonengaging for either party. With the emergence of new technologies, including virtual reality (VR) and areas such as edutainment, this and similar trainings can be transformed into more engaging, more accessible, customizable (virtual) environments, with the addition of new cues and bespoke progression settings. In this work, we designed and implemented a VR ear training system for interval recognition. The usability, user experience, and the effect of multimodal integration through the addition of a perceptual cue, spatial audio, was investigated in two experiments with 46 participants. The results show that the system is highly acceptable and provides a very good experience for users. Furthermore, we show that the added spatial auditory cues provided in the VR application give users significantly more information for judging the musical intervals, something that is not possible in a non-VR environment.

Presentations of virtual cultural heritage artifacts are often communicated via the medium of interactive digital storytelling. The synergy of a storied narrative embedded within a 3D virtual reconstruction context has high consumer appeal and edutainment value. We investigate if 360° videos presented through virtual reality further contribute to user immersion for the application of preserving intangible cultural heritage. A case study then analyzes whether conventional desktop media is significantly different from virtual reality as a medium for immersion in intangible heritage contexts. The case study describes bridge diving at Stari Most, the old bridge in Mostar Bosnia. This application aims to present and preserve the bridge diving tradition at this site. The project describes the site and history along with cultural connections, and a series of quiz questions are presented after viewing all of the materials. Successful completion of the quiz allows a user to participate in a virtual bridge dive. The subjective evaluation provided evidence to suggest that our method is successful in preserving intangible heritage and communicating ideas in key areas of concern for this heritage that can be used to develop a preservation framework in the future. It was also possible to conclude that experience within the virtual reality framework did not affect effort expectancy for the web application, but the same experience significantly influenced the performance expectancy construct.

The goal of psychometric scaling is the quantification of perceptual experiences, understanding the relationship between an external stimulus, the internal representation and the response. In this paper, we propose a probabilistic framework to fuse the outcome of different psychophysical experimental protocols, namely rating and pairwise comparisons experiments. Such a method can be used for merging existing datasets of subjective nature and for experiments in which both measurements are collected. We analyze and compare the outcomes of both types of experimental protocols in terms of time and accuracy in a set of simulations and experiments with benchmark and real-world image quality assessment datasets, showing the necessity of scaling and the advantages of each protocol and mixing. Although most of our examples focus on image quality assessment, our findings generalize to any other subjective quality-of-experience task.

High dynamic range (HDR) technology enables the capture, storage, transmission and display of real-world lighting at a high precision as opposed to traditional low dynamic range (LDR) imaging. One of HDR’s main features is its ability to reproduce very bright and very dark areas simultaneously. Dynamic range describes the span between these extrema in the brightness scale. HDR research investigates the generation, capturing, processing, transmission, storage and reproduction of HDR content. Cultural heritage represents our legacy that must be passed on to future generations. As it is increasingly threatened with deterioration, destruction and disappearance, its documentation, conservation and presentation is of high importance. Given the real-world dynamic range and the limitations of conventional capture and display technology, HDR imaging represents an invaluable tool for accurate documentation, virtual reconstruction and visualisation of cultural heritage. HDR is used by academics, museums, and media to visualise the appearance of sites in various periods in time. Physically-based 3D virtual reconstructions are used for studying existing or ruined cultural heritage environments. This in turn enables archaeologists to interpret the past and deduce new historical knowledge. In this chapter we present the HDR pipeline, along with its use for cultural heritage preservation, recreation and presentation.

Ear training is a vital element in music education, analogous to taking dictation in written language. It provides musicians with a crucial skill used to identify pitches, melodies, chords and rhythms. Traditionally, the training is conducted by a tutor using a musical instrument, typically a piano. However, with new technologies emerging, several computer applications to facilitate this aspect of music education have been developed. Nevertheless, none of them utilised the VR technology, that proved to be successful in various scenarios, including educational systems, simulations, etc. In this work, we designed and developed a virtual reality ear training system for interval recognition and investigated its usability and user experience and the effect of spatialised audio in a 3D virtual environment on user performance. The results showed that the system has been successfully designed and provides users with a great experience when using it.

Subjective quality assessment is considered a reliable method for quality assessment of distorted stimuli for several multimedia applications. The experimental methods can be broadly categorized into those that rate and rank stimuli. Although ranking directly provides an order of stimuli rather than a continuous measure of quality, the experimental data can be converted using scaling methods into an interval scale, similar to that provided by rating methods. In this paper, we compare the results collected in a rating (mean opinion scores) experiment to the scaled results of a pairwise comparison experiment, the most common ranking method. We find a strong linear relationship between results of both methods, which, however, differs between content. To improve the relationship and unify the scale, we extend the experiment to include cross-content comparisons. We find that the cross-content comparisons reduce the confidence intervals for pairwise comparison results, but also improve the relationship with mean opinion scores.

The dynamic range of real world scenes may vary from around 102 to greater than 107, whilst the dynamic range of monitors may vary from 102 to 105. In this paper, we investigate the impact of the dynamic range ratio (DRratio) between the captured scene and the displayed image, upon the value of system gamma preferred by subjects (a simple global power law transformation applied to the image). To do so, we present an image dataset with a broad distribution of dynamic ranges upon various sub-ranges of a SIM2 monitor. The full dynamic range of the monitor is 105 and we present images using either the full range, 75% or 50% of this, while maintaining a fixed mid-luminance level. We find that the preferred system gamma is inversely correlated with the DRratio and importantly, is one (linear) when the DRratio is one. This strongly suggests that the visual system is optimized for processing images only when the dynamic range is presented correctly. The DRratio is not the only factor. By using 50% of the monitor dynamic range and using either the lower, middle or upper portion of the monitor, we show that increasing the overall luminance level also increases the preferred system gamma, although to a lesser extent than the DRratio.

Computing dynamic range of high dynamic range (HDR) content is an important procedure when selecting the test material , designing and validating algorithms, or analyzing aesthetic attributes of HDR content. It can be computed on a pixel-based level, measured through subjective tests or predicted using a mathematical model. However, all these methods have certain limitations. This paper investigates whether dynamic range of modeled images with no semantic information, but with the same first order statistics as the original, natural content, is perceived the same as for the corresponding natural images. If so, it would be possible to improve the perceived dynamic range (PDR) pre-dictor model by using additional objective metrics, more suitable for such synthetic content. Within the subjective study, three experiments were conducted with 43 participants. The results show significant correlation between the mean opinion scores for the two image groups. Nevertheless, natural images still seem to provide better cues for evaluation of PDR.

Maximizing performance for rendered content requires making compromises on quality parameters depending on the computational resources available . Yet, it is currently unclear which parameters best maximize perceived quality. This work investigates perceived quality across computational budgets for the primary spatiotemporal parameters of resolution and frame rate. Three experiments are conducted. Experiment 1 (n = 26) shows that participants prefer fixed frame rates of 60 frames per second (fps) at lower resolutions over 30 fps at higher resolutions. Experiment 2 (n = 24) explores the relationship further with more budgets and quality settings and again finds 60 fps is generally preferred even when more resources are available. Experiment 3 (n = 25) permits the use of adaptive frame rates, and analyses the resource allocation across seven budgets. Results show that while participants allocate more resources to frame rate at lower budgets the situation reverses once higher budgets are available and a frame rate of around 40 fps is achieved. In the overall, the results demonstrate a complex relationship between frame rate and resolution's effects on perceived quality. This relationship can be harnessed, via the results and models presented, to obtain more cost-effective virtual experiences.