Search results

The purpose of this study is to enhance audience experience in museum by using three-dimensional (3D) virtual simulation technology.

In this study, a large space museum building tourism demonstration system based on 3D virtual simulation technology was proposed. Starting from the concept of virtual reality (VR), the characteristics of VR and the classification of VR systems were introduced, and the research status of VR technology at home and abroad and the application of 3D virtual simulation were discussed. Then the key technologies of 3D modeling, 3D scene optimization and 3D simulation driving of 3D virtual simulation were expounded, and the characteristics and application scope of different technical methods were analyzed. Finally, an example of the Hongzhou Kiln 3D network museum was listed.

The research results showed that 3D virtual simulation has a wide range of applications in the field of VR. Different elements need to be considered for different types of applications, and different contents need to be integrated to achieve the corresponding interaction modes.

Virtual image; multimedia; large space museum; tourism demonstration system; 3D virtual simulation technology.

This paper aims to provide a comprehensive review of research on robotics in travel, tourism and hospitality, and to identify research gaps and directions for future research.

This paper analyzes 131 publications published during 1993-2019, identified via Scopus, Web of Science, ResearchGate, Academia.edu and Google Scholar. It offers quantitative analysis of frequencies and cross-tables and qualitative thematic analysis of the publications within each of seven identified domains.

The paper identifies “Robot,” “Human,” “Robot manufacturer,” “Travel/tourism/hospitality company,” “Servicescape,” “External environment” and “Education, training and research” as the research domains. Most research studies are dedicated to robots in restaurants, airports, hotels and bars. Papers tend to apply engineering methods, but experiments and surveys grow in popularity. Asia-Pacific countries account for much of the empirical research.

The analysis was limited to publications indexed in four databases and one search engine. Only publications in English were considered. Growing opportunities for those who are anxious to publish in the field are identified. Importantly, emerging research is branching out from the engineering of robots to the possibilities for human/robot interactions and their use for service providers, opening up new avenues of research for tourism and hospitality scholars.

The paper identified a myriad of application areas for robots across various tourism and hospitality sectors. Service providers must critically think about how robots affect the servicescape and how it needs to be adjusted or re-imagined to ensure that robots and employees can augment the service experiences (co-)created within it.

This is the first study to systematically analyze research publications on robotics in travel, tourism and hospitality.

本论文全面评论了在旅游酒店业中的机器人技术的研究, 并指出文献缺口和未来研究方向。

本论文分析了在1993年至2019年发布在Scopus、Web of Science、ResearchGate、Academia.edu、和Google Scholar的131篇文献。本论文对文献做了一系列定量分析, 包括频率分析、交叉表、定性文本分析、在七大确立的领域中对每个领域的文献进行分析。

本论文确立了七个研究领域：机器人、人类、机器生产者、旅游酒店企业、Servicescape、外部环境、和教育培训和研究。大多数文献集中在对饭店、机场、酒店、和酒吧的机器人研究。文献往往采用工程手段进行研究, 但是实验和问卷方式正在呈增长趋势。亚太国家占据大多数实证研究作品。

本论文样本库局限于四个数据库和一个搜索引擎。只有英文文献被采样。本论文为对相关领域感兴趣的学者指出研究方向。重要的是, 本论文发现用工程角度研究机器人的文献有了分支, 有一小部分文献开始着手研究人/机器人交互和其在服务过程中的使用的研究, 这对旅游酒店学者提供新研究视角。

本论文指出了一系列有关旅游酒店领域中机器人的应用。服务商必须重视机器人如何影响Servicescape以及如何审视机器人与人的交互, 确保其与员工加强消费者的服务体验（价值共创）。

本论文是首篇系统评论旅游酒店领域中机器人研究文献的文章。

关键词：机器人、机器人经济、机器人设计、机器人使用、Servicescape、rService、人-机器人交互、研究议程

With over 4.5 million objects and specimens from both the natural and human worlds, Manchester Museum, part of The University of Manchester, is the largest University Museum in the United Kingdom. By virtue of its position within The University of Manchester, learning and research are central to Manchester Museum’s work. The Museum has a track-record of educational work, from the ‘Children’s Museum Club’, a travelling school loans service set up in 1954, to the founding of a dedicated Education Department in 1981. Throughout its long history, the Museum has always held objects and collections at the heart of its popular learning offer. More recently, the growth of the learning team led to the creation of a set of learning principles to underpin its work. These principles – that learning should be object-centred, dialogic, imaginative, personalised, multi-sensory, collaborative and exploratory – are all based on inquiry-based learning and aim to foster a research-based disposition in learners.

As a University Museum with engagement at its heart, Manchester Museum is now looking to transform the third floor of its building into a space themed entirely around ‘research’. This redevelopment, due to open in March 2015, will see the creation of a new visitor research space – ‘The Study’. This unique development will extend the successful inquiry-based learning approach used with schools and colleges, into a public research space for all visitors, with collections at its heart.

This paper examines the Art Institute of Chicago – a nationally recognized museum – as a white sanctuary, i.e., a white institutional space within a racialized social system that serves to reassure whites of their dominant position in society. The purpose of this paper is to highlight how museums create and maintain white spaces within the greater context of being an institution for the general public.

The empirical analysis of this study is based on collaborative ethnographic data collected over a three-year period of time conducted by the first two authors, and consists of hundreds of photos and hundreds of hours of participant observations and field notes. The data are analyzed using descriptive methods and content analyses.

The findings highlight three specific racial mechanisms that speak to how white spaces are created, recreated and maintained within nationally and internationally elite museums: spatiality, the policing of space, and the management of access.

Sociological research on how white spaces are maintained in racialized organizations is limited. This paper extends to museums’ institutional role in maintaining white supremacy, as white sanctuaries.

This paper adds to the existing literature on race, place and space by highlighting three specific racial mechanisms in museum institutions that help to maintain white supremacy, white normality(ies), and serve to facilitate a reassurance to whites’ anxieties, fears and fragilities about their group position in society – that which helps to preserve their psychological wages of whiteness in safe white spaces.

The Ottoman cultural legacy in Algeria is made up of a diverse range of architectural structures. The Algerian government strategy in connection with the Ottoman old buildings is to restore them into museums. This study will attempt to present a contrastive analysis between two old palaces being under restoration (refurbishment), and the goal is to propose a museum route by calculating the ambiance aimed at circulating the rooms by visitors.

The authors analyzed the architectural components of the various entities by observing in situ and taking measurements for a single case study to get a sense of the results for the mid-season (spring and fall). The configuration was next evaluated by modeling the space syntax and combining it with a simulation of daylight luminance, for the period when the authors could not make measurements on-site. The ultimate goal is to combine these findings to suggest the ideal in-route for the future museum.

This research allowed the authors to propose a museum itinerary adapted to the new vocation of the palaces, which considers the daylight as an element of composition in the spaces of circulation.

The paper proposes solutions to a flow management problem encountered in several similar palaces converted into museums.

The study aims to raise questions on the museum, and to preserve such heritage from neglect by giving it a new life more adapted to the needs of the Algerian society.

The authors believe that this contribution will be a creative solution for issues related to the operation of palaces that have been converted into museums.

In this paper, I apply the discourse of transitional justice to the case study of survivor docents at the Japanese American National Museum, a site that has come to represent and serve as a form of reparation for the traumatic memory of Japanese American internment during World War II. As a longer term supplement to trials or Truth and Reconciliation Commissions or an alternative in cases where no such structures exist, I illustrate how the museum tour becomes an empowering platform for survivors of the American Internment camps to work through and instrumentalize traumatic memories within the dialogic museum sphere, even as this alternative space forms its own new silences. Thus, by applying the very theories and criticisms through which scholars of memory politics evaluate official platforms of transitional justice, I aim to complicate and evaluate this alternative form of testimony, and in so doing explore areas of growth in the fields of both transitional justice and museum practice. Bridging the gap between testimony, oral history, and museum interpretation, survivor docents represent a sustained dialogic approach to history that perpetuates, preserves, and activates – rather than resolves – discourse around contentious memories.

The aim of this research is to understand the relationship between cultural buildings, economic powers and social justice and equality in architecture and how this relationship has evolved over the last hundred years. This research seeks to identify architectural and urban elements that enhance social justice and equality to inform architectural and urban designs and public policies.

The author explores the relationship between case studies of museums, cultural centers and libraries, and economic powers between 1920 and 2020 in Stockholm, Sweden. The author conducts a historical analysis and combines it with statistical and geographically referenced information in a Geographic Information System, archival data and in situ observations of selected buildings in the city. The author leverages the median income of household data from Statistics Sweden, with the geographical location of main public buildings and the headquarters of main companies operating in Sweden.

This analysis presents a gradual commercialization of cultural buildings in terms of location, inner layout and management, and the parallel filtering and transforming of the role of users. The author assesses how these cultural buildings gradually conformed to a system in the city and engaged with the market from a more local and national level to global networks. Findings show a cluster of large public buildings in the center of Stockholm, the largest global companies' headquarters and high-income median households. Results show that large shares of the low-income population now live far away from these buildings and the increasing commercialization of cultural space and inequalities.

This research provides a novel image of urban inequalities in Stockholm focusing on cultural buildings and their relationship with economic powers over the last hundred years. Cultural buildings could be a tool to support equality and stronger democracy beyond their primary use. Public cultural buildings offer a compromise between generating revenue for the private sector while catering to the needs and interests of large numbers of people. Therefore, policymakers should consider emphasizing the construction of more engaging public cultural buildings in more distributed locations.

This paper aims to examine the transformation of the concept of cultural tourism within the sociopolitical empowerments, changes of visual realms and normative contexts, which is embedded within museums as institutions.

These discussions will be conceptualized through investigating the shifts in the metamorphosis of the architectural vocabulary of Egypt's museums between nineteenth and twentieth centuries. This analysis will be highlighted through connecting both the notion of the “tourist reflexivity” of John Urry and Jonas Larsen in The Tourist Gaze 3.0 (2011) and the notion of the “interstitial spaces” and “new internationalism” of Homi Bhabha in The Location of Culture (1994). The analysis expands to interrogate these two notions as prelude for reflecting on representations of colonial and postcolonial museums in Egypt, starting from the Museum of Egyptian Antiquities, Cairo (c. 1863) to the most recent, the Egyptian Grand Museum, Cairo (c. 2002).

The analysis revealed that while colonial museums endeavored to stage external cultural authority and postcolonial ones staged traditions' liminality through “New internationalism”, they created spatiotemporal interstices. This finding, while is a timely example with the rising global cultural encounters that emerged during this transformative age, it challenges the collective imaginations of architects to liberate from traditional nationalism.

The paper offers novel theoretical and architectural analysis of Egypt's museums through the exigency of nationalism and “new internationalism”. The encounter between both notions is a timely example given the recent involvements by the “Modern State” and the recent pandemic upheaval that revealed the inevitability of globalism and the discursivity of such notions.

This chapter explores the approaches to digital representation of Australian Aboriginal art and visitor engagement in museum exhibition spaces from a digital design perspective. It discusses recent developments in the fields of digital representation of Aboriginal art, immersive exhibition design and visitor engagement. Through a case study of an immersive exhibition on Australian Aboriginal art in the National Museum of Australia, Canberra, this chapter identifies how Aboriginal art can be digitally represented by appropriate immersive technologies ranging from augmented realities [ARs] and virtual realities [VRs] to mixed reality [MRs] and extended reality [XRs] for enhancing visitors’ immersive digital experience. According to the analysis, the digital representation of Aboriginal artworks needs to be conducted practically, cognitively and ontologically based on understanding Australian Aboriginal history and culture. Visitors can engage with Aboriginal art stories meaningfully through immersive exhibitions through this holistic approach.