Designing Performative, Gamified Cultural Experiences for Groups

Vayanou, Maria; Ioannidis, Yannis; Loumos, George; Sidiropoulou, Olga; Κάργας, Αντώνιος

doi:10.1145/3290607.3312855

Cited by 15 publications

(6 citation statements)

References 5 publications

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“…Regarding the publications with the most citations within the dataset (metadata provided by the indexation platforms), Deggim, et al from 2017 titled "Segeberg 1600-reconstructing a historic town for virtual reality visualization as an immersive experience" [17] is the most cited. The following are Vayanou, et al from 2019 titled "Designing performative, gamified cultural experiences for groups" [18], Luimula and Trygg from 2017 titled "Cultural heritage in a pocket: Case study 'Turku castle in your hand'" [19]…”

Section: Type Of Publication Publicationsmentioning

confidence: 99%

“…As an illustration of these different operational concerns, two papers within the dataset can be indicated: "Wine and food tourism gamification. Exploratory study in Peso da Régua" by Dália Liberato, Marta Nunes and Pedro Liberato [29] and "Designing Performative, Gamified Cultural Experiences for Groups" by Maria Vayanou, et al [18]. In the latter, the project's focus is on the advancement of social role of the institution, in this case a museum.…”

Section: Q2 Are the Gamification Projects More Institution-oriented O...mentioning

confidence: 99%

See 1 more Smart Citation

A Systematic Literature Review of Gamification in/for Cultural Heritage: Leveling up, Going Beyond

Marques,

Pedro,

Araújo

2023

Heritage

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Because of the possibilities that it opens for a variety of fields and practices, gamification has increasingly garnered significant attention. This has put it at the forefront of many significant debates around its applicability and implications. In the case of its application to cultural heritage, although there is much trailblazing to do, the body of work has been growing and the field is gaining its maturity. As such, this paper aims to take stock of the directions the field has been moving towards—to provide orientation for future work and projects that are yet to be developed. To do this, the paper aims to map out the publications in the field of gamified cultural heritage, by conducting a broader and systematic literature review. The study has found that, with regards to who the main actors with publications in the field are, a prominence of European institutions and networks, namely from Italy, Greece and the United Kingdom, can be observed. Regarding what heritage is being gamified and for what purpose, the study found a prominence of focus on historical, architectural and archeological heritage values and a very significant focus on gamification being used for motivation/engagement and for creativity enhancement. When looking at the gamification design dimensions that are given prevalence, intrinsic motivation seems to be prioritized, and, with regards to the observed target publics, tourists and visitors and seem to prevail in gamified heritage projects, with children as a specific group coming in second. Regarding technologies and tools being used, Mobile Applications, Augmented Reality (AR) and Virtual Reality (VR) are particularly prevalent. Regarding mentioned future orientations, the study found that a vast majority of papers are self-contained, both in scope of work and discussion, with most of those that do mention future directions indicating continuation and/or expansion of their specific project.

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Section: Type Of Publication Publicationsmentioning

confidence: 99%

Section: Q2 Are the Gamification Projects More Institution-oriented O...mentioning

confidence: 99%

A Systematic Literature Review of Gamification in/for Cultural Heritage: Leveling up, Going Beyond

Marques,

Pedro,

Araújo

2023

Heritage

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“…We suggest that the museum-like aesthetic and explicit naming of the Donation Hall, as well as the narrative offered by the host, provides a consistency across spaces that eases the transition into and out of VR. The steady context across the museum visit acts as a means to smooth the 'seams' [9] and enable a coherent trajectory that affords creativity, engagement, and personal reflection [71,29]. Transition 4 was returning to the museum.…”

Section: Transitioning Between Spacesmentioning

confidence: 99%

VRtefacts

Spence

Darzentas

Huang

et al. 2020

Proceedings of the 2020 ACM Designing Interactive Systems Conference

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We explore how a combination of manipulations and transitions can extend Substitutional Reality to create a highly personal Virtual Reality experience. Our design aimed to meet two challenges faced by museums: the limitations of object handling and the desire for visitors to create their own interpretations. Using a Research-through-Design methodology, we built a performance-led Mixed Reality experience that lets museum visitors physically handle 3D prints or scans of museum objects and share personal stories about them. They can then donate their stories to the museum. We reflect on the complex design and findings gained from an in-the-wild deployment to explore engagement and disruption through manipulations of physicality, visuals, and scale; transitions between spaces; and a trajectory of storytelling performance. We chart a wide scope for Performative Substitutional Reality and draw implications for VR, MR, and performance-led research.

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“…We first conducted a series of playtesting sessions with physical materials in different environments and exhibitions, exploring the game's affordances and requirements [7,8]. We then produced to a mobile-based design to support the proposed game, leveraging the visitors' personal handheld devices as game controls [9]. Moving one step further, we currently investigate how the artists of cultural collections may be involved in the described game experience.…”

Section: Introductionmentioning

confidence: 99%

“…We report a series of results that demonstrate the benefits of the suggested approach, combining participants' qualitative feedback to behavioural observations. The secondary objective of the study was to evaluate two new components that were recently introduced in the mobilebased game design [9], namely the Speeding and the Guessing bonus, guiding following game iterations.…”

Section: Introductionmentioning

confidence: 99%

Investigating the Artist’s Role in Social Group Games

Vayanou¹,

Sidiropoulou²,

Loumos³

et al. 2020

EAI Endorsed Transactions on Creative Technologies

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Social interactions are a key objective in cultural experience design and museum games are often aimed to foster conversations between visitors. However, the participation of cultural creators is hardly explored. In this paper we examine how the artists may participate in storytelling games played over their artworks. We present a field study at a museum exhibition, where the artist joined a group of visitors crafting and sharing stories over his paintings. We investigate how the artist's participation affected the group experience, considering the visitors' perspective along with the artist's. Both sides reported positive outcomes, indicating an engaging social cultural experience. Furthermore, we discuss the effects of bystanders in traditional as opposed to game-event settings. Building upon the later, we pinpoint limitations and challenges over the artist's participation, and explore varying levels of engagement, sketching good practices and new directions.

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Designing Performative, Gamified Cultural Experiences for Groups

Cited by 15 publications

References 5 publications

A Systematic Literature Review of Gamification in/for Cultural Heritage: Leveling up, Going Beyond

A Systematic Literature Review of Gamification in/for Cultural Heritage: Leveling up, Going Beyond

VRtefacts

Investigating the Artist’s Role in Social Group Games

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