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The art started to pause in our city due to ‘Corona’. While it is already dying for economic, cultural, and political reasons, it has been thoroughly covered by the COVID-19 outbreak. In our city, which we consider young and modern, Mersin University Faculty of Fine Arts and Toros University Faculty of Fine Arts provide art education and hundreds of students graduate each year. In this epidemic process, there is no movement towards art in the city when the young population returns to their homes or to cities with their families. No wonder people started to rely on machines rather than nature after the epidemic. It almost halved the human lineage on our planet. Scientists, physicians, economists, and explorers have devoted themselves to destroying or weakening natural forces that would hinder the development of humanity for 300 years. The human race fought nature and upper organisms with railways, dams, engines, antibiotics, and atomic bombs. The painters documented the epidemic by producing pictures on the subject of the epidemic. Now we have to face the threats such as the warming of the world and environmental pollution, the epidemic every day. In this entire confrontation process, the lessons conducted online in our city have been tried to be shown as virtual exhibitions under the name of online. The contributions of this process in the context of ‘art’ and ‘the city’ have been examined and the results will be evaluated.

The ability for learners to interact online via their avatars in a 3-D simulation space means that virtual worlds afford a host of educational opportunities not offered by other learning technology platforms, but their use also raises several pertinent issues that warrant consideration. This chapter reviews the educational use of virtual worlds from a design perspective. Virtual-world definitions are explored, along with their key educational characteristics. Different virtual-world environments are briefly contrasted, including Second Life, Active Worlds, Open Sim, and Minecraft. A wide variety of virtual-world uses in schools and universities are examined so as to understand their versatility. Key educational benefits of virtual worlds are distilled from the literature, such as the ability to facilitate 3-D simulations, role-plays, construction tasks, and immersive learning. Emergent issues surrounding the use of virtual worlds are also analyzed, including cognitive load, safety, and representational fidelity. One higher education and one school level vignette are provided in order to offer more detailed insight into the use of virtual worlds in practice. Recommendations for learning design and implementation are presented, based on the thematic analysis of contemporary virtual-worlds research.

Festivals and events have been regarded as one of the sources of super-spreading of the COVID-19 virus. This industry has higher vulnerability to external factors. Against this backdrop, this chapter explores the various methods that will define the future for them while promoting the ideas of sustainability.

Since the prevalence of virtual worlds in society has grown exponentially in recent years and virtual worlds have demonstrated an incredible power to engage participants in ways in which traditional education has not, virtual worlds provide us an excellent opportunity to create engaging, collaborative, and academically challenging learning situations. Also, given the new media literacy of many of younger students, we in higher education are in many ways meeting them where they already are …or should be. By integrating virtual worlds into instruction, the Virtual Education Research Group (VERG) at Middlesex Community College in Massachusetts provides students with these collaborative experiences. Through a sustained community of practice and experimentation with a variety of virtual world platforms including ActiveWorlds, World of Warcraft, Warhammer, City of Heroes Architect, Forbidden City, and Second Life, some general principles and specific learning activities emerge for instructors integrating virtual worlds into the classroom. The basic concepts of connecting with technical and administrative support, choosing a world with thematic connections to your subject, creating scheduled opportunities to play and learn together, and committing to providing a strong online presence have been expanded upon to create a flexible model that can be applied across disciplines. Through the work of VERG at Middlesex Community College, virtual worlds are now used in a variety of instructional disciplines, ranging from humanities to psychology to business. Several case studies illustrating unique and effective practices are provided.

The aim of this chapter is to delineate a product framework concerning managed visitor attractions (MVA), which highlights the supply-chain aspects of destinations. It first touches on the rationales for developing such a framework and then constructs a framework composed of a set of product components deriving from the extant literature. Consequently, an version of a product component framework, fastening on an accumulated sample of attraction cases, is presented through three illustrative cases. In the conclusion section, this study elaborates on the study limitation while connoting how the resultant data could shed light on the role of the components of the MVA product in the creation of visitor experiences.

Due to the impact of the pandemic that enforced mass closures and lock downs, galleries, libraries, archives, and museums [GLAM] institutions around the world were required to re-think how they interacted with the public. As a result of the measures that enforced isolation, distancing, and increased hygiene requirements, the usefulness of virtual technologies as a storytelling medium has come into sharper focus. This chapter will explore the emergence of augmented reality as a viable post-COVID-19 solution to meaningful digital narrative creation and user interaction in the museum environment. This chapter will concentrate on the development of a project between the University of South Australia [UniSA] and the South Australian Museum [SAM] to explore how it might be possible to create sustainable immersive stories within this environment.

The chapter presents the implementation of ethics education via challenge-based learning (CBL) in three European settings. At TU Eindhoven (the Netherlands), a mandatory first-year User, Society, and Enterprise course on the ethics and history of technology offers a CBL alternative on ethics and data analytics in collaboration with internal student and research teams. The University of Lübeck (Germany) initiated the project CREATE – Challenge-based Learning for Robotics Students by Engaging Start-Ups in Technology Ethics, which enables 60 students in Robotics and Autonomous Systems to integrate ethical and societal considerations into technological development processes, in cooperation with start-ups from a local accelerator. In Spain, CBI-Fusion Point brings together 40 students from business and law (ESADE), engineering and technology (Polytechnic University of Catalonia), and design (IED Barcelona Design University) for an innovation course focused on the application of CERN-developed technologies to real-world problems. The chapter documents the process of setting up three CBL courses that engage students with grand societal topics which require the integration of ethical concerns from the design stage of technological development. The authors also reflect on the challenges of teaching ethics via CBL and the lessons they learned by delivering experiential learning activities rooted in real-life challenges and contexts marked by high epistemic uncertainty. The contribution reflects the transition to remote teaching and presents strategies employed to enhance online communication and collaboration. The chapter thus provides guidance for instructors interested in teaching ethics via CBL and recommends further lines for action and research.

Like brands memes earn their own value (Csikszentmihályi, 1993), which we describe as meme value derived from brand equity theory (Aaker, 1996; Keller, 2003). This meme value is rather temporary that may quickly escalate and suddenly drop, therefore its circumstances of appearance and subsistence are to be further investigated. The purpose of this study is to uncover underlying factors of internet meme value. Internet meme value comprises of length of subsistence, number of contributions, number of variations, areas of applicability, ability to convey messages, quality of creativity.

We recorded 95 respondents’ narratives about 125 different memes, altogether 281 memes (2013 spring), and further 47 respondents’ narratives (2014 autumn). Recorded narratives reflect these dimensions.

Our exploratory research showed that internet memes would become successful – exist, spread and vary – if their central thought is clear and is applicable in a variety of contexts. Furthermore, meme value could be enriched by humorous content (Shifman & Thelwall, 2009) societal questions, emotionally involving situations, and potential for self-expression.

Based on our results we extend the internet meme value concept with a meteorite metaphor that explains the speed, scope, impact of internet memes. We use the notions of astronomy Meteoroid, Meteor (shooting star), Fireball, Meteorite, Comet and suggest a future classification of internet memes that could be: MEMEoroid, MEMEor, MEMEball, MEMEorite, CoMEMEt.