This paper describes a real-time routing system that implements a mobile museum tour guide for providing personalized tours tailored to the user position inside the museum and interests. The core of this tour guide originates from the CHIP (Cultural Heritage Information Personalization) Web-based tools set for personalized access to the Rijksmuseum Amsterdam collection. In a number of previous ...

False-color infrared represents a well known method for non-invasive pigment identification in artworks. This is particularly useful in the field of conservation of cultural heritage as it provides useful information about painting materials, techniques, retouches. However, the interpretation of a false-color image is still carried out just by “naked eye” evaluation, thus suffering from the dou...

L. Candy and S. Ferguson (eds.), Interactive Experience in the Digital Age: Evaluating New Art Practice, Springer Series on Cultural Computing, DOI 10.1007/978-3-319-04510-8_5, © Springer International Publishing Switzerland 2014 Abstract This chapter looks at interactivity and interactive art systems in relation to traditional aesthetic categories and artistic practice. Central to the chapter ...

Art museum attendance is rising steadily, unchallenged by online alternatives. However, the psychological value of the real museum experience remains unclear because the experience of art in the museum and other contexts has not been compared. Here we examined the appreciation and memory of an art exhibition when viewed in a museum or as a computer simulated version in the laboratory. In line w...

Why do some people like negative, or even disgusting and provocative artworks? Art expertise, believed to influence the interplay among cognitive and emotional processing underlying aesthetic experience, could be the answer. We studied how art expertise modulates the effect of positive-and negative-valenced artworks on aesthetic and emotional responses, measured with self-reports and facial ele...

The relationship between people and art is complex and intriguing. Of course, artworks are our creations; but in interesting and important ways, we are also created by our artworks. Our sense of the world is informed by the art we make and by the art we inherit and value, works that, in themselves, encode others' world views. This two-way effect is deeply rooted and art encodes and affects both...

We present ArtVis, an advanced user interface combining stateof-the-art visualisation techniques and tangible interaction to explore the Web Gallery of Art digital artwork collection consisting of almost 28 000 European artworks. The graphical ArtVis interface contains three separate visualisation panels that allow users to temporally, semantically and geographically investigate the digital art...

Aesthetic responses to visual art comprise multiple types of experiences, from sensation and perception to emotion and self-reflection. Moreover, aesthetic experience is highly individual, with observers varying significantly in their responses to the same artwork. Combining fMRI and behavioral analysis of individual differences in aesthetic response, we identify two distinct patterns of neural...