PROPOSED RESEARCH

The maximum length of this file is 10 pages (Must use letter size, Verdana size 10 or similar). For an adequate evaluation of your proposal merits, this file must include the following aspects: Proposal description, Hypothesis, Goals, Methodology, Work Plan, Work in progress and Available Resources.Be sure to highlight the relevance of your project concerning the scientific merits achieved in the field of the proposed topic.Keep in mind the Bases del Concurso de Proyectos FONDECYT REGULAR 2019.

1 Proposal description

Introduccion

Hoy en día un museo no esn sólo un lugar donde se guardan y preservan objetos de valor patrimonial, los cuales se exhiben en forma rotativa al público y donde los expertos pueden realizar sus investigaciones. Es eso, pero además, y en forma importante, es un sistema donde se crean oportunidades de aprendizaje y valorización del patrimonio por la gente en general, y por las nuevas generaciones en particular. Esto lo han entendido muchos museos que incluyen actividades que involucran participación activa del visitante para crear un sentimiento de apropiación de este legado (Caulton 2006, Sandifer 2003).

A museum nowadays is not only a place to store and preserve heritage objects, which are exhibited to the public and where experts can do their research. A museum satisfies that definition but also it is a learning system where people can value heritage. In particular, young generations can learn with museums about their roots and their history. Many museums have adopted this extended definition and offer activities involving active participation from visitors in order to create a feeling of appropriation of that legacy.

Las tecnologías de la información han transformado muchas actividades y organizaciones de la vida humana profunda y vertiginosamente, sin haber dejado tiempo para una reflexión necesaria acerca de cuáles son los beneficios (o daños) de aplicarla en forma tan abrumadora.

Information Technology (IT) has quickly and deeply changed many human activities and organizations. This rapid change has not allowed some time to reflect on the benefits and losses of applying these technologies in such overwhelming pace.

En el tema de preservación del patrimonio cultural uno puede preguntarse cuáles son las formas de aplicar tecnología que sean de mayor provecho y menor daño. Las tecnologías de la información en general, pueden juegan un papel muy interesante en esta misión, ya que pueden multiplicar las oportunidades de que el visitante interactúe con el patrimonio en diversas formas sin poner el riesgo la integridad de los objetos por un lado, y permitiendo hacer cosas que podrían ser imposibles de implementar sin ellas. En este escenario son especialmente atinentes los conceptos de realidad virtual y realidad aumentada.

Concerning cultural heritage preservation, a relevant question may be which are the ways of applying technology with greater advantages and less disadvantages. IT, in general, can play an interesting role in this matter, since it can increase the number of times a visitor can interact with heritage in several ways without risking the integrity of the corresponding objects. Besides, IT can allow certain interactions which might be impossible to achieve otherwise. Concentrating then on IT, there are two concepts we should pay special attention: virtual reality and augmented reality.

De estas dos técnicas, la más usada hasta ahora por museos es la realidad virtual. Esto implica crear una representación digital del objeto patrimonial para que un “visitante” pueda interactuar con él en un mundo virtual. En Carrozzino, M., & Bergamasco, M. (2010) los autores hacen una clasificacion de los distintos tipos de museos virtuales según dos criteros, el grado de inmersión y el grado de interaccion. La realidad virtual se ha usado mucho para implementar museos virtuales dedicados a mostrar objetos arqueológicos (Bruno, F., Bruno, S., De Sensi, G., Luchi, M. L., Mancuso, S., & Muzzupappa, M. (2010).). Esto es por un lado debido a que es una forma de permitir interactuar al visitante con objetos frágiles y posiblemente de mucho valor, y por otro porque se pueden restaurar virtualmente objetos

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muy dañados de modo de mostrar su apariencia original (Cohen, F., Liu, Z., & Ezgi, T. (2013)) Más aun, se han reconstruido virtualmente antiguos edificios o incluso sitios arqueológicos completos. (Guidi, G., Russo, M., & Angheleddu, D. (2014)). La realidad virtual ha estado muy ligada al desarrollo de artefactos que implementan ambientes de aprendizaje basados en actividades lúdicas, lo que se conoce como edutainment (Lepouras, G., & Vassilakis, C. (2004).). La razón para incorporar elementos lúdicos en un museo virtual es la inducción y mantención de la motivación y engagement de los usuarios en las tareas de aprendizaje, que son factores fundamentales para asegurar el éxito de cualquier actividad que tiene como meta el aprendizaje. Esta relación motivación y engagement con éxito en el aprendizaje está profusamente documentado en la literatura de las ciencias de la educación (Garris, R., Ahlers, R., & Driskell, J. E. (2002)). La realidad virtual ha sido también propuesta para crear exhibiciones incluyendo objetos que están geográficamente distantes y que por sus dimensiones, peso, u otras circunstancias es difícil moverlos para ponerlos en un mismo lugar (Baloian et al. 2017), como por ejemplo, si quisiéramos hacer una exposición con ciertos Moais de la isla de pascua que están ubicados en distintas partes de la isla para hacer una exhibición de cómo fue evolucionando el diseño de ellos.

Virtual reality has been explored by museums to a larger extent. Virtual reality lets a curator build a digital representation of a heritage object in a way that a “visitor” can interact with it in a virtual world. Carrozzino, M., & Bergamasco, M. (2010) make a museums classification according to the inmersion degree and the interaction degree. Virtual reality has been especially used to develop virtual museums dedicated to present archeological objects (Bruno, F., Bruno, S., De Sensi, G., Luchi, M. L., Mancuso, S., & Muzzupappa, M. (2010)). The advantage of its use is because virtual reality allows visitors to safely interact with fragile and valuable objects; furthermore, virtual reality allows curator to virtually reconstruct damaged physical objects so that they appear in their original look (Cohen, F., Liu, Z., & Ezgi, T. (2013)). Moreover, old buildings or complete archological sites have been virtually reconstructed . (Guidi, G., Russo, M., & Angheleddu, D. (2014)). Virtual reality has also been associated to the development of artefacts implementing learning environments based on playful activities, making up an area known as edutainment (Lepouras, G., & Vassilakis, C. (2004)). A virtual museum including playful elements induces and keeps users’ motivation and engagement in learning tasks. As it is well reported in the corresponding literature, there is a close implication of motivation and engagement for successful education (Garris, R., Ahlers, R., & Driskell, J. E. (2002)). Finally, virtual reality has also been proposed as a solution to exhibit objects which are geographically located in distant places and given their size, weight or other constraints, they are hardly movable to a given place (Baloian et al., 2017). An example of the difficulty to physically move and observe together heritage objects would be an attempt to make an exhibition of Easter Island Moais located in scattered parts of the island to present the evolution of their design.

Figurea 1: Example of use of a tablet computer to implement augmented reality by adding the missing parts of an ornament through digital graphics when looking at the original parts through the camera of the computer device.

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Figurea 2: Example of use of a computer enhanced flashlight to implement augmented reality by adding the colors to an Egyptian stone carved with figures relief. When pointing the flashlight at the stone it projects the colors, which probably originally had it originally over it.

El principio de la realidad aumentada por otro lado es complementar situaciones reales con objetos virtuales. Esto puede ir desde intervenciones más bien simples, como complementar los objetos expuestos con información adicional al ver éstos a través de la cámara de un teléfono celular o una tablett (ver figura 1), técnica que se ha usado más que nada para completar las visitas a un museo físico (Damala, A., Cubaud, P., Bationo, A., Houlier, P., & Marchal, I. (2008, September) Otra manera como se ha usado es proyectando imágenes estáticas o en movimiento sobre objetos reales, en el caso de los museos, objetos arqueológicos, para mostrarlo restaurado, o con colores con que probablemente fue originalmente adornado pero que se desvanecieron con el tiempo (por oxidación) (Ridel, B., Reuter,et al 2014) (ver fig 2)

On the other hand, the purpose of augmented reality is to complement real scenes with virtual objects. This addition may range from simple to complex interventions. A simple one may be complementing the exhibited objects with additional information when looking them through a cell phone camera or tablet computer (Figure 1). This technique has been used to enhance the experience of visiting a physical museum (Damala, A., Cubaud, P., Bationo, A., Houlier, P., & Marchal, I. (2008, September). Another way of using augmented reality is to project static or dynamic images over physical objects; in the case of museums, the projection is done over archeological objects to show them in a restored way or with original colors (Fig. 2) (Ridel, B., Reuter,et al 2014). In most cases, projection of augmented reality is harder to implement than the previously mentioned “looking through” augmented reality because extra equipment is necessary and perfect synchronization with the real world is required.

En la mayoría de los casos, esta técnica es algo más difícil de implementar que la anterior pues supone la inversión en equipos que puedan proyectar de alguna manera los modelos virtuales que existen dentro del computador en el mundo real y además la sincronización perfecta del mundo real.

Existen varias técnicas que se pueden usar para virtualizar objetos reales de modo de usar estos modelos en mundos virtuales o en realidad aumentada (Noh, Z., Sunar, M. S., & Pan, Z, 2009). De entre las más usadas podemos nombrar las siguientes:

An important technical issue is how to virtualize real objects so that they can be used in either virtual worlds or augmented reality. There are some techniques to do it (Noh, Z., Sunar, M. S., & Pan, Z, 2009). Some of the most frequently used techniques are the following ones:

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Image-based Modelling: Esta técnica consiste en armar una malla de puntos que definen el contorno del objeto (o una aproximación de él). A las superficies que definen esta malla de punto se le adosan fotografías de los objetos reales. Dependiendo de la geometría, se requerirán más o menos fotos. Por ejemplo, un objeto cuadrado o paralelepípedo requerirá sólo 6.

Image-based Modelling: This technique consists of building a mesh of points defining the object shape (or an approximation to it). Pictures of the real objects are glued to the surfaces defining this mesh. The number of photographs depends on the complexity of the object geometry. For instance, a cube or a parallelepiped requires only 6 pictures.

Range-Based Modelling: Con esta técnica, la geometría de puntos en el plano 3D se capta directamente con un scanner. Distintos tipos de scanner brindarán distinto grado de precisión. Sin embargo, esta técnica no permite rescatar colores ni texturas, solo la superficie.

Range-Based Modelling: The distribution of points in 3D is captured directly by a scanner in this technique. Various types of scanners will provide different degrees of precision. This tecnique allows to obtain just surfaces, not colors or textures.

Image-Based Rendering: En esta tecnica se usan imágenes 2D para de ellas calcular y generar modelos 3D. Esto se hace basado en el contorno, en las sombras y en los ángulos. Tiene la ventaja que puede modelar cualquier tipo de geometría, regular o no regular con mucho detalle si se desea. Hoy en día existen incluso sitios web que ofrecen la reconstrucción de modelos 3D a partir de fotografías como servicio, como por ejemplo sketchfab (https://sketchfab.com/). Además tiene la ventaja que no necesita otro dispositivo que una cámara fotográfica, por lo tanto lo hace muy asequible. La desventaja es que requiere de mucha memoria para una representación de calidad.

Image-Based Rendering: This technique uses 2D images to compute and generate 3D models. This result is obtained using information from contours, shadows and angles. It is advantageous to model any type of geometry, either regular or not regular, with much detail if required. Nowadays there are web sites offering the reconstruction of 3D models as a service, using photographs as input. An example of this service is the one provided by sketchfab (https://sketchfab.com/). This service makes the process very low-cost since the only required physical device is a photographic camera. The disadvantage of this technique is that a high-quality reconstruction requires much computer memory.

Research Proposal

De la sección anterior podemos ver que desde hace tiempo que la tecnología digital se ha venido usando profusamente para enriquecer la experiencia del visitante a museos o para perimirle el acceso a objetos que no podría manipular o ver en los museos reales. Sin embargo, muchas de estas experiencias no ha sido evaluada en absoluto y en la mayoría de las que si se ha hecho una evaluación, ésta ha sido desde el punto de vista de la usabilidad y aceptación por parte de los usuarios. Esto es probablemente debido a que la mayoría de estos sistemas se ha desarrollado bajo el prisma de investigar el uso de la tecnología para apoyar, complementar o crear nuevas formas de museos. En este proyecto se propone investigar acerca de cuáles serían las consecuencias que tienen en la motivación y engagement de las personas hacia actividades que las tecnologías de la información pueden apoyar por medio de los enfoques de realidad virtual por un lado y realidad aumentada por otro.

One of the main contributions of this Project will be that the activities the visitors will be able to ojo

Theoretical Foundundamentations for the technology enhanced collaborative museum

En la literatura existen muchas definiciones, no siempre coincidentes de lo que es un museo virtual. En el contexto de este trabajo la definición que más se ajusta es tal vez la siguiente: ( Hazan et al. [33]) “a communication product accessible by a public, focused on tangible or intangible heritage. It uses various forms of interactivity and immersion, for the purpose of education, research, enjoyment, and enhancement of visitor experience. VMs may be typically, but not exclusively denoted as electronic when they could be called online museums, hyper museums, digital museums, cyber museums or Web museums”.

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The realization life cycle of a VM goes on in severalincludes these stages: EstablishingConception, designing, constructioning, runningtesting, and operationng a VM within its lifespan. People participating in these stages have various Different skills are needed from people working on these various stages; even for one stage, several persons may be related to it. Main participants roles are curators, software engineers, instructors, architects, experts, sponsors/authorityies, and visitors; the latter onesvisitors may be museum enthusiasts, special user groups, tourists, students, etc. (Baloian et al., 2017).

Virtual museumsVMs have attracted the attention of many researchersbeen the subject of many inquiries. A search in Google scholar search with the term “Virtual museums” performed in March 2017 produced 6,240 results with 37 of them from 2017 and 388 since January 2016. By searching the term only in the title, 284 documents are retrieved, 11 since January 2016. On the contrary, searching for “co-operation virtual museums” and “collaborative virtual museums” produced only 6 hits in total [34–40], most of them describinge environments developed for learning educational purposes before 2004. When searching without the quotation marks (which meansi.e., words may appear in anywhere place throughout the document) produceds 74,000 results, but examining the first 50 results we found that only three documents were really relevant for the subject [34] [39] [40].

The previous search exercise shows the subject of collaboration in virtual museums has not been explored as much as it should, despite the various interesting possibilities, which were highlighted in [34] already in the year 2001. Therefore, we think it is worthwhile to explore the the collaboration possibilities involving stakeholders with different roles in the process of creation, administration and visiting a virtual museum.

(sacado de un documento de presentacion, no publicado) One of the most interesting fascinating characteristics of museums is that they are storytellers by nature (Bedford 2001 [13]; Johnsson 2006 [19]). In order to make objects accessible to visitors, exhibitions provide interpretations through combinations of meaningfully arranged mediators (Hooper-Greenhill 1999 [18]). During the second half of the twentieth century, exhibitions were transformed into more explicit spatial narratives. Exhibits were arranged thematically; and the museum’s discourse may have presented different points of view (Twiss-Garrity et al. 2008 [26]). At the beginning of the twenty-first century, the influence of digital technologies and social media puts information (the narrative) before objects; explores storytelling on mobile platforms (Galani et al. 2011 [16]; Hansen et al. 2012 [17]; Lombardo & Damiano 2012 [20]); and pushes museums to make exhibitions not only personalized and interactive, but also open to visitors’ opinions and contributions (Pujol et al. 2013 [22], [23]). Today a museum does not represent a mere display and presentation of collections but a site for creation of experiences that respond to their visitors’ evolving needs and expectations, and storytelling is central to the visitor experience. As the first, most essential form of human learning (Bruner 1990 [14]), storytelling establishes a universal way of communication; and because it invites audiences to fill in the blanks with their own experiences, it helps to set emotional connections, which can be deeper than intellectual understanding (Bedford 2001 [13]; Springer et al., 2004 [24]). As a consequence, objects become closer and more relevant for visitors, conveying different perspectives of the world (Twiss-Garrity et al. 2008 [26]).

But However, sometimes it is difficult to rearrange the exhibition objects to tell different stories, especially when the objects you want to exhibit are difficult to move and bring together because they are too heavy, they can be damaged, or they cannot be taken away from the original place they are located. These three arguments are true for the case of the Moais in Easter Island. It would be difficult to bring a few of them together in to a single place in order to compare them, show some similarities or differences in order to explain their evolution across time and/or geographical areas. Of course, it is possible to do this, using photographs. However, the possibilities that a virtual environment offers are much more rich and flexible. It can consist of a large collection of digital 3D reproduction of Moais, all of them associated with metadata which can ease their selection for arranging a particular exhibition and for displaying only the information about each stone which is important for the proposed exhibition. Also various different scenarios can be offered for arranging the objects of the exhibition. All existing 3D-based technologies and interaction paradigms can be used to make the experience of “visiting” the exhibition more realistic, participative and educative. Using digitized exhibition material gives also the possibility to of reconstructing missing or destroyed objects from which there are photographs and combine them with existing ones in the same

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exhibition. Moreover, facilitating visitors’ ubiquitous access to virtual and augmented tours, museums today exhibit collections that would otherwise be difficult to present.

Such an environment could not only be used by curators to assemble exhibitions to tell different stories in a flexible and inexpensive way and users to visit them, but we can also use it for learning purposes according to constructivist learning theories. According to this theory, learners learn by constructing artifacts (Vaganou [27], Vygostky 1978 [28]). Further, studies in education and human computer interaction (HCI) have shown how feelings of presence in mediated environments influence users’ attitudes and evaluations toward content and services, leading them to interpret the information more likely than that obtained through their own direct experience (Winn and Jackson 1999 [29]). Education research reveals that by allowing learners to interact directly with information from a first-person perspective, 3D interactive environments can bridge the gap between experiential learning and information representation (Jonassen et al. 1999 [31]), which in turn may enhance learning by providing more opportunities for engagement (Dickey 2005 [32]). Central to this theoretical perspective is the idea that knowledge is constructed not transmitted, and that learners play an active role in the learning process (Duffy and Cunningham 1996 [30]), especially when they have opportunities for exploring and manipulating the learning environment (Dickey 2005 [32]). Several authors have argued that immersive environments can support constructivist learning since they allow learners to control content, sequences and learning strategies; learners thus can create their own discovery activities that encourage diverse thinking and problem representations, all of which help stimulate intrinsic motivation.

Storytelling with educational purposes can also be approached from another direction. Visitors to a museum may be invited to create fictional stories using elements exhibited by a museum (physical and/or virtual). If that exercise is done by the visitors, they will have to reflect on the context of the objects, their relevance to daily life, people’s relation to the objects, etc. All these connections relate to the visitors’ intellectual appropriation of the objects and therefore, they are desirable goals for a museum. One difficulty may be visitors’ limitations to write text. Although text writing is a general education goal, many visitors perhaps have a handicap in this skill. If teachers consider their students should practice text writing anyway, then that is appropriate and students should do it. Nevertheless, the museum may have an option to write stories for students less skilled in text writing. This option may be producing comics with the story: cartoon frames which are placed in a sequence. The virtual museum can offer a set of previously stored frames which, after some modifications, are placed in sequence by the visitor to write the story. The frames can be edited to include text and objects from another collection. The frames may present people interacting in various ways: two persons talking with one object in the middle, one person giving another person an object, etc. Fig. 3 shows an example of a comic frame which one of the proponents used in another context: the gathering of process models from users (Antunes, Simoes, Carrico, Pino, 2013). The story then could be written in a playful graphical/textual way.

Fig. 3. A comic frame. The user can edit the texts and the objects (in this case, a laptop computer)

2. Hypotheses

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As mentioned above, we argue for exploiting computer technology (virtual and augmented reality) to increase the role of museums in valuing the heritage and learn from it. The best scenario is one of integration of a physical museum with a virtual one for the visitors. However, this is not always possible, e.g., very few Chilean students are able to visit the Moais open museum in Easter Island and yet, it should still be interesting for all students to interact with a virtual Moais museum.Therefore, we would like to investigate virtual museums in terms of their suitability for learning and engaging visitors in the corresponding subject using state-of-the-art technology. Our hypotheses are then the following ones:

H1. A virtual museum with appropriately developed activities raises more interest and engagement for visitors than conventional means.

H2. A virtual museum with appropriately developed activities increases visitors’ interest and engagement in the topics of a physical museum.

Conventional means include text descriptions, digital pictures, and videos available in the Web. The visitors mentioned in the hypotheses are specifically basic and high school students. As stated by the literature, motivation and engagement increase the possibilities of successful learning [][]. Based on this, our aim is to develop motivating activities for the learners.

3. Goals

The general Goal is to identify a set of appropriately developed activities which may make the hypotheses true. In this project we propose to study the following specific ones:

A. Visitors act as curators developing their own exhibits with virtual objects of the museum. Virtual objects can be taken form the available ones provided by the museum site or uploaded by the visitor (for this purpose, a standard representation of virtual 3D objects has to be chosen).

B. Visitors interact with virtual objects of a virtual exhibition created by another person, giving feedback by textual comments or even rearranging the exhibition moving the object to places different from the ones chosen by the exhibition’s author (co-curation).

C. Visitors create their own stories with comics including virtual objects of the museum.

D. Visitors interact with virtual objects of a museum which are models of real objects of an exhibition using augmented reality

In the first oneA activities, students take the role of curators and prepare an exhibition to tell a certain story about people behind the objects. (Ejemplo)

In the B activities, learners also practice their creative skills by telling a fictional story with the help of comic frames which can be chosen from a set of existing ones. The comics can also be edited, or new ones can be included created by learning.

In the C activities learners can create new images by combining pictures of the exhibition and images of real people, presenting them in displays in the physical museum. For example, in a fashion museum, the learner can virtually try the dresses and/or accessories shown in the exhibition on her.The target users of the this project

4. Methodology

The methodology will develop around the development and use of two technology enhanced museums with different characteristics which will enable us to implement the activities already mentioned in this proposal. Each museum will serve to implement the activities which are most suitable according to its characteristics.

One museum will be a purely virtual one, in which visitors can create their own exhibitions choosing virtual objects frorm the ones, which will be available in the application, or uploading their own ones. This museum

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will be about Easter Island Moais of the Easter Island. We selected this topic because it has many of the characteristics that allow visitors do things with are almost impossible to do in real life: they can assemble an exhibition of a set of Moais with stones that may be scattered all over the island. For example, the visitor may want to create an exhibition with Moais ordered according to their construction date to show that with the time the inhabitants of the island carved Moais increasingly bigger. In principle, we consider that the most suitable technique that we will use to scan the Moais is the Image-based Rendering since it will be very easy to photograph the Moais and build 3D model from them. However, the work plan of the project considers a stage for studying and evaluating the processes and results when using each technique for selecting the optimal one.

On the other hand, we will develop augmented reality technologies to expand the activities visitors can perform in the Ffashions Museum (Museo de la Moda) in Santiago the de Chile. The team of this project already contacted the executive personnel in charge of the museum and they agreed to collaborate with us. Here we want to make 3D and 2D models of the clothes and objects being exhibited in order to allow visitors to try them on themselves in a virtual way projecting their images on a large screen and superimpose the virtual model of the object over the human figure. The personnel of the Ffashions Mmuseum executives already agreed to buy the a large screen for implementing this activity in the fashion Museum. For this part of the project, we consider that in principle the most suitable technique for virtualizing the objects in this initiative is the Image-Based Modelling and Rage-based Modelling since they are better suited for smaller objects. Range-based Modelling is more suitable appropriate for objects with a complicated geometry and Image-based Modelling for geometrically more regular objects. However, as for the Moais museum, for this one we will also consider a stage for trying, evaluating and selecting the best option.

Since this research has a learning aim, the main subjects for the testing of the hypotheses will be schoolchildren frorm the four las years. We are going towill recruit them mainly from the courses of the summer school that the Faculty of Engineering of the Universidad de Chile offers for schoolchildren in July, august, January and February. The students who accept to participate in the study will sign a written consent.

Hypotheses testing will proceed by separating the subjects in two groups: experimental and control. Both groups will answer pre-test and post-tests. Between both tests, subjects will perform the developed activities (experimental group) or conventional activities (control group). The tests will measure engagement and knowledge on the matter. Of course, we expect the experimental group to perform better than the control group, but the inquiry will be careful to obtain scientifically valid results. To test the hypothesis that schoolchildren who perform the activities proposed in this project rise their knowledge about the subject we can apply a pre-knowledge test to a set of them and then let half of them perform the activities. Then we can apply an equivalent posttest and see if the subjects that did perform the activities raised their knowledge level statistically significantly. This is easy to do, especially for the scenario of the virtual museum with the Moais.

Motivation is a subjective feeling, but it can be measured by the side effects it causes and also by self-reports (Touré‐Tillery, M., & Fishbach, A., 2014), (Pintrich, P. R., 2004). Some of the objective measures are speed to perform the task (though faster not always means high motivation), precision in completing the task (a more precise result can be an effect of motivation for doing it) and choice, which means the individual chooses to do a certain activity instead of another one motivated by some facts. In this project, we would like to investigate the effect of schoolchildren being exposed to perform the above-mentioned activities in their subsequent motivation for the topics there are related to. Therefore, in order to test the motivation hypothesis of this research, we can also ask the students before performing the activities, which is their interest level to for the topic, and how many times did they visited a real museum related to it or read about the topic. Then we let them perform the activities and ask the same questions after some prudent time. Here, a self-report about how their motivation to the topic changed after performing the activities is also a valid instrument.

5. Work Plan

El trabajo en este Proyecto contempla el desarrollo y testeo para ambos museos (el museo virtual de Moais y las aplicaciones de augmented reality para el museo de la moda) en paralelo.

[1.] Primero, se diseñaran en detalle las actividades que los visitantes pueden hacer para cada uno de los museos tomando en cuenta sus características. Como resultado de esto se espera tener los

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requerimientos para la aplicación de museo virtual de Moais y las actividades qwue se implementarán en el museo de la moda. También se espera identificar para ambos casos los objetos para los cuales se necesita crear un modelo virtual 2D o 3D. Para el caso del museo de la moda, las actividades a implementar se discutirán todas las factibles de implementar con el personal del museo y se escogerán aquellas que podrían tener un más alto impacto en el visitante de modo que el desarrollo de estas no tomen un tiempo más allá de 18 meses. Para el caso de los Moais se consultará a expertos para escoger aquellos que sean representativos de una clase de Moais y que cuyo proceso de digitalización no tome más alláa de una semana.

[2.] Se estudiaráan las técnicas de virtualización de objetos reales y se escogerán las más adecuadas para los objetos identificados en la etapa anterior.

[3.] Se realizaráa la digitalización de los objetos de acuerdo a 1.[4.] Se desarrollaran

6. Work in progress

The proponents of this project have already a vast experience developing computer-based applications to support learning [refs]. Moreover, recently we they developed a prototype of virtual museum for Armenian cross-stones (called khachkars in Armenian language) for learning purposes. Khachkars are large pieces of carved rectangular stones having a central motif a cross as central motif. People created them to commemorate certain events, as memorial for people who passed away or as tombstones (see figure 3)

Figure 3: Khachkars in real life and their digitized 3D models

The Khachkars museum scenario has some similarities with the Moai scenario since the stones are difficult to move and it will be almost impossible to prepare an exhibition with stones, which are located geographically far apart. It is also interesting in this scenario to do such and exhibition

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Figure 4: a screenshot of the Khachkar virtual museum.

The techniques used to digitize the stones were Image-based modelling and Image-Based rendering. Due to the geometrical shape of the Khachkars Image-based Modelling was proved to be better for its simplicity. However, we thingthe proponents initially believe that for the Moais this technique is not easily applicable to moais since their shape are is not very geometrically simple. The Unity engine, which was created as a platform to develop 3D and 2D games was useds to develop the Khachkars application. The lessons learned from the development of this application will certainly help us for performing this research.

The proponents have also previously done research on Human-Computer Interaction [refs], evaluation of collaborative work [refs] and evaluation of technology-supported education [refs].

Available Resources

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