Ontology and rule based retrieval of sound objects in augmented audio reality system for museum visitors

Abstract

ec(h)o is an "augmented reality interface" utilizing spatialized soundscapes and a semantic web approach to information. The initial prototype is designed for a natural history and science museum. The platform is designed to create a museum experience that consists of a physical installation and an interactive virtual layer of three-dimensional soundscapes that are physically mapped to the museum displays. The source for the audio data is digital sound objects. The digital objects originate in a network of object repositories that connect digital content from one museum with other museums collections. The interface enables people to interact with the system by movement and object manipulationbased gestures without the direct use of a computer device. The focus of this paper is the retrieval mechanism for the sound objects for the museum visitor. The retrieval mechanism is built on the user model and conceptual descriptions of the sound object and museum artifacts in the form of ontologies for sound and psychoacoustics, topic ontology and Conceptual Reference Model for museum information. The retrieval criteria are represented as inference rules that represent knowledge from psychoacoustics, cognitive domain and composition aspects of interaction. The system will be demonstrated in exhibition space in Nature

Situated play in a tangible interface and adaptive audio museum guide

“…The system was implemented using 1054 the JESS inference engine with the DAMLJessKB 1055 extension that converted DAML + OIL ontologies to 1056 Jess facts. The reasoning module was connected with 1057 other modules through the user datagram protocol 1058 (UDP) socket connections [55].…”

The Contribution of Technology-Based Heritage Interpretation to the Visitor Satisfaction in Museums

“…The work presented by these authors was carried out through interviews, bringing an insight in the understanding of how certain types of devices might enable social interactions when visiting a museum. Other works examine the introduction of specific technological devices, such as cinematic techniques in multimedia museum guide (Rocchi, Stock, Zancanaro, Kruppa, & Kruger, 2004), or three-dimensional audio devices (Hatala, Kalantari, Wakkary, & Newby, 2004). However, this line of research has been mainly carried out from the computer science perspective, in an attempt to augment the number of visits to museums by introducing 'high-tech' devices.…”

Entornos multimedia de realidad aumentada en el campo del arte.

“…ARCHEOGUIDE: a) Usuario equipado con el sistema; b) Imágenes de ruinas griegas; c) Imagen aumentada con reconstrucciones 3D. En (Hall et al, 2002;Bimber et al, 2003;Brown et al, 2003;Hatala et al, 2004;Wojciechowski et al, 2004;Woods et al, 2004 realidad y la lógica (mundo objetivo), el artista se basa en la imaginación y la emoción (mundo subjetivo).…”

“…Conforme los museos se vuelven más abiertos y vinculados con tecnologías interactivas, también emerge una nueva concepción de la audiencia como participantes activos o incluso como creadores (Roussou, 2004). Ejemplos de instalaciones museísticas basadas en entornos aumentados los podemos encontrar en (Hall et al, 2002;Bimber et al, 2003;Brown et al, 2003;Hatala et al, 2004;Sparacino, 2004;Wojciechowski et al, 2004;Woods et al, 2004;Bimber et al, 2005a La creación de experiencias interactivas empieza a converger con el impulso de la industria del entretenimiento para el desarrollo de exposiciones museísticas dentro del campo del edutainment. Los museos científicos y para niños ofrecen programas basados en el juego, descubrimiento y compromiso como herramienta principal para el aprendizaje.…”

“…ARCHEOGUIDE: a) Usuario equipado con el sistema; b) Imágenes de ruinas griegas; c) Imagen aumentada con reconstrucciones 3D. En (Hall et al, 2002;Bimber et al, 2003;Brown et al, 2003;Hatala et al, 2004;Wojciechowski et al, 2004;Woods et al, 2004 realidad y la lógica (mundo objetivo), el artista se basa en la imaginación y la emoción (mundo subjetivo).Sin embargo, siglos atrás esta distinción no era tan evidente. El artista era un conocedor de la técnica y la ciencia, haciendo uso de éstas en su proceso creativo; mientras que el científico era un ser imaginativo y creativo que se aventuraba a defender nuevas teorías, antes incluso de poder ser demostradas empíricamente.…”