We are IntechOpen, the world's leading publisher of Open Access books Built by scientists, for scientists

6,500+ Open access books available

177,000+

International authors and editors

195M+ Downloads

156 Countries delivered to Our authors are among the

Top 1% most cited scientists

12.2%

Contributors from top 500 universities

Selection of our books indexed in the Book Citation Index in Web of Science™ Core Collection (BKCI)

### Interested in publishing with us? Contact book.department@intechopen.com

Numbers displayed above are based on latest data collected. For more information visit www.intechopen.com

## Meet the editor

Ladislav Župčán, Ph.D., is an educational consultant at the Center for Children and Family, Nitra, Slovakia. He obtained individual scientific and academic degrees from the University of Constantine the Philosopher, Nitra, between 2009 and 2013. Dr. Župčán has been dedicated to the interdisciplinary connection of history, museology, and communication technologies for 15 years.

### Contents


## Preface

The current digital age has created new possibilities for explaining, understanding, and using cyber elements in a variety of areas and industries, including museums. For example, virtual reality (VR) can be used to present and educate individuals about cultural heritage as well as help protect cultural heritage assets for future generations. To accomplish this, cyber-virtual visualization of selected monuments should respect the general principles of the San Antonio Declaration regarding authenticity in the protection and management of cultural heritage. This process involves constructing the architectural form of the units using visualization models that sufficiently reflect the historical concept of the selected monument. It should consider certain factors, including:


These visualization models push the boundaries not only of historical objectivity but also of construction development in the respective location. By the so-called moving of virtual boundaries, a more precise understanding of the structures between individual stylistic epochs or even regions can be obtained.

This book discusses the use of VR in the museum environment to connect history and presentation of expositions where the key component is architectural objects. The fulfillment of the goals set out in the first section of this book took place through gradual systematic work that diagnosed basic historical, political, or cultural attributes. The results were also created through other source testimonies. The overall verification of these resulting arguments from historiography is not only a matter of time but also of the re-implementation of research with other documents, especially from the field of contemporary military, surveying, the structure of communication, and current knowledge from the environment of museum virtualization.

The very theoretical essence of the selected goals, the so-called schematic mosaic, had to be corrected in some places. This was due to the absence of several important source documents and some discovery reports. Despite this, the processing and interpretation of theoretical principles were carried out in a combination of historical and modern, contemporary writing. This initial mosaic of work opens a wide spectrum of possibilities for examining entities in a national and transnational context.

The second section of the book was marked by the technical proportions of the present and had the task of depicting the architectural likeness of selected cultural entities and ways of their application in practice. This part is characterized by fieldwork and an experimental idea. The purpose of the field activities was to document the current state of the monuments with the help of the obtained geometrical results. The acquired measurement results were then compared with the existing ones. In addition to the terrain itself, field duties were significantly complicated by the fact that they are located in a zone with an increased level of protection. This phase ended primarily with the photographic documentation of the preserved remains of the architecture, where the implementation of the laser and photogrammetric concept played a significant part. The next step was the actual visualization grouping of the selected units. When constructing the visual models, attention had to be paid not only to the already established historical connections but also to the present-day dimensions of the monuments as well as to the general architectural background. The form of the constructed models directly depended not only on the credibility of the original sources but also on the graphic visual environments.

Currently, the created models remain in a transitional form because it is still possible to continue working on their improvement and elimination of possible errors. The status of this goal was not the characteristics of the technical base and typology possibilities, but the addition of color in the historical reconstructions of selected units of the world cultural heritage.

The presented work was created on theoretical and historical foundations and with the use of the latest technological software and graphic achievements. This state brought up-to-date views and a reasonable number of graphic portraits, thus opening a new era of knowledge of selected regions in space and time, also from the point of view of museum exhibitions with the contribution of cyber virtualization.

The merits of the book relate to history, museology, cultural studies, and the use of information systems. The contribution of this work lies in its complete complexity, which was created by the combination of historical methods and the creation of experimental visual-virtual models in connection with the museum world. The comprehensiveness of the work brings new knowledge and perspectives on selected world-class monuments.

This book can be used in the professional sphere as well as for applied practice. It allows for more detailed processing of almost all available factual data from original and oldest secondary sources. The analysis of political and cultural contexts brings a chronological dimension to the issue for the needs of museology, which can be identified in several parts.

The interdisciplinary contribution of the presented work is noticeable in the reconstruction of virtual experimental models serving for the possible rescue of unique cultural heritage. The supporting pillar of virtuality in the form of visual models is not only the most probable forms of structures in the entirety of building repairs. The revitalization of visual models also plays a big role and is permissible since it

**V**

is possible to continue working with them. The current working sketches of their foundations and other working perspectives were created directly from studies that combine knowledge from history, architecture, and museology. In addition, the models are also based on the materials of contemporary stonemasons, masons, carpenters, and military architects. The benefit is visible in the possibility of supporting local tourism. The local patriotic understanding of this cultural heritage can also be manifested in the circle of the lay public in the form of providing information about selected units based on the principle of the official website, brochures, and various graphic publications. The data can also be presented internationally. This part can be presented not only in connection with state institutions but also by various organizations or associations on the domestic and especially international scene by

participating in professional conferences, seminars, or various workshops.

conferences, seminars, or various workshops.

The analysis of political and cultural contexts brings a chronological dimension to the issue of the needs of museology, which can be identified in several parts, such as: the interdisciplinary contribution of the presented work is noticeable in the reconstruction of virtual experimental models serving for the possible rescue of unique cultural heritage. The supporting pillar of virtuality in the form of visual models are not only the most probable forms of structures in the entirety of building repairs. The revitalization of visual models also plays a big role and is permissible, since it is possible to continue working with them. The current working sketches of their foundations and other working perspectives were created directly from studies that combine knowledge from history, architecture and museology. In addition, the models are also based on the materials of contemporary stonemasons, masons, carpenters and, last but not least, military architects. The benefit is visible in the possibility of supporting local tourism. The local patriotic understanding of this cultural heritage can also be manifested in the circle of the lay public in the form of providing information about selected units based on the principle of the official website, brochures and various graphic publications. The data can also be presented internationally. This part can be presented not only in connection with state institutions, but also by various organizations or associations on the domestic, but especially international scene, by participating in professional

**Ladislav Župčán**

Nitra, Slovak Republik

Center for Children and Youth,

is possible to continue working with them. The current working sketches of their foundations and other working perspectives were created directly from studies that combine knowledge from history, architecture, and museology. In addition, the models are also based on the materials of contemporary stonemasons, masons, carpenters, and military architects. The benefit is visible in the possibility of supporting local tourism. The local patriotic understanding of this cultural heritage can also be manifested in the circle of the lay public in the form of providing information about selected units based on the principle of the official website, brochures, and various graphic publications. The data can also be presented internationally. This part can be presented not only in connection with state institutions but also by various organizations or associations on the domestic and especially international scene by participating in professional conferences, seminars, or various workshops.

The analysis of political and cultural contexts brings a chronological dimension to the issue of the needs of museology, which can be identified in several parts, such as: the interdisciplinary contribution of the presented work is noticeable in the reconstruction of virtual experimental models serving for the possible rescue of unique cultural heritage. The supporting pillar of virtuality in the form of visual models are not only the most probable forms of structures in the entirety of building repairs. The revitalization of visual models also plays a big role and is permissible, since it is possible to continue working with them. The current working sketches of their foundations and other working perspectives were created directly from studies that combine knowledge from history, architecture and museology. In addition, the models are also based on the materials of contemporary stonemasons, masons, carpenters and, last but not least, military architects. The benefit is visible in the possibility of supporting local tourism. The local patriotic understanding of this cultural heritage can also be manifested in the circle of the lay public in the form of providing information about selected units based on the principle of the official website, brochures and various graphic publications. The data can also be presented internationally. This part can be presented not only in connection with state institutions, but also by various organizations or associations on the domestic, but especially international scene, by participating in professional conferences, seminars, or various workshops.

> **Ladislav Župčán** Center for Children and Youth, Nitra, Slovak Republik

**1**

Section 1

Cyber-Virtual Time

in Museums

Section 1

## Cyber-Virtual Time in Museums

#### **Chapter 1**

## Introductory Chapter: The Role of Digital Humanistics in Safeguarding Cultural Heritage

*Ladislav Župčán*

#### **1. Introduction**

Developmental technical and construction facilities in the history of the human epoch helped man in the person of the architect to establish basic architectural systems. Individual historical events were manifested in the construction and reconstruction of cultural monuments of that time. Several architectural constructions became strategic systems in the field of political, administrative, economic and cultural seat of the lordship and the entire region.

Virtual-visual history within the framework of digital humanities serves as an "explorer of the past", in which historical testimonies, building elements from preserved source foundations are gradually recorded. Architectural monuments have a high historical, spiritual and esthetic value. Selected monuments of cultural heritage from all over the world are able to reveal to the public not only their history, their construction technology, location, but also their relationship with other architectural objects of the respective location. For this reason, it is necessary to have a "historical plot" that enables the issue to be presented not only in the form of a sequence of subsequent historical events but also to explain and emphasize contemporary situational moments. Although it seems that there are "just maybe" other general historical connections, the opposite is true, as the research reflects multiple answers to the questions asked, even parallel interpretations and hypothetical constellations of the studied issues of selected architecture in selected regions from Europe to Asia, or America, not forgetting the African continent.

The ambitious attraction of contemporary virtual-visual history is the more detailed construction of multi-dimensional models that also depict exterior spaces in relevant historical periods from relevant written and literary sources. These models (e.g. 2D, 3D as well as XD) are designed not only on the basis of knowledge of historical contexts but also reveal the then technical achievements of their time, which subsequently enable uncovering the mystery of the history of architectural systems.

The idea of the presented reconstruction models within the framework of virtual history is to respect the individual stylistic stages or the required architectural symbiosis for further study and establishing cooperation with other scientific spheres. The tendency of these models is to contribute to the preservation, preservation and possible restoration of this kind of cultural heritage also in the open online space.

Digital humanities is based on the interconnectedness of research in several spheres, e.g. history, archaeology, ethnology, museology, programming, work with graphic editors, etc., with the intention of not only increasing the quality of the study of art history but above all finding suitable prototypes for the protection of cultural heritage for the following generations.

Modern history is intended to be a "practical editorial encyclopedia" for independent study and basic empirical work with visual-virtual models of selected monuments of cultural heritage in the sphere of presentation, further scientific research and protection with the help of cyberspace.

#### **2. Digital history**

The new, digital history should serve not only in research, but also in the educational sphere. The combined procedure is chosen because it offers enough space to highlight the positive aspects of the research field, such as:


The key attributes remain the methodological combination of an analytical nature with the popularization of historical monuments based on reconstruction models processed in 2D and 3D, but also in holographic design based on the cooperation of several scientific departments.

As stated in the Venice Charter under article nine, "...in the case of hypothetical reconstructions, any work (recognized as necessary for esthetic or technical reasons) must, however, be distinguished from the old architectural composition and bear the stamp of current times" [1]. Authorities in the former communist countries of the Central European area is skeptical of such works, referring to the fact "...that reconstructions are based on acquired knowledge, in which history is not reversible. In addition, they point to the damage done to the original historical structures, especially in the area of the medieval and modern environment, to which the ideas of reconstruction have already been applied" [2].

The idea of reconstructive visual model experiments is to respect the individual stylistic stages or the required architectural symbiosis for further study and

#### *Introductory Chapter: The Role of Digital Humanistics in Safeguarding Cultural Heritage DOI: http://dx.doi.org/10.5772/intechopen.111759*

establishing cooperation with other scientific fields. The tendency of these models is to contribute to the preservation, preservation and possible restoration of this kind of cultural heritage. In these contexts, it is good to keep in mind the idea of Eugène Emmanuel Viollet—le Duc: "...restoration does not mean preserving, repairing, or rebuilding an object, a monument, but it means rebuilding it to the best possible perfection, in which it could not be at the appropriate time to exist…" [3].

Virtual reconstruction models capture architectural components that emphasize design, construction moments and stimulate thinking about new questions, hypotheses, such as:


#### **3. Verification of historical illusions**

The final form of the work is a summary of almost all available data. This work is characterized by the knowledge of historical evidence, the so-called traces of the reconstruction of the past. The diversity of all historical narratives and book accounts proves that many times there is conflicting information about selected architectural units. It is precisely these contradictory traces that need to be verified and the erroneous inaccuracies of "historical illusions" excluded. Methodological criticism of the available source base is an invaluable aid in eliminating older factual errors. The language structure of the work is based on the principles of comprehensibility and logical continuity of arguments from archival and oldest literary sources. Due to the investigated issue, the most important aspect [4] is the identification of complexes from the period of their probable creation to the era of their demolition or demise.

In the formulation of methodological problems, another, non-source base was also helpful, in which the generally accepted views of the laws of historical-evolutionary development were respected, not to mention the achieved results of the technical framework, which predetermine and open up the possibility of knowing the selected architectural systems [5–7].

The results led to a regional research method, that is, to the construction of a municipal model [8–10]. Today, it is necessary to take a chronological approach to the hierarchization and clarification of the historical chain of selected virtual entities, due to the discovery of new facts to uncover and explain the phenomena in the studied geographical environment. The existing construction-architectural details of possible today's ruins are subject to the basic ones, i.e. generally accepted empirical—building data, corresponding to the principles of the context of the internal and external cohort of profile two- to three-dimensional pages (**Figures 1** and **2**) of newly reconstructed virtual images.

Basic factors play an important role in determining the assumptions of the form of work:


**Figure 1.** *Castle Slanec (author: Ladislav Župčán/Martina Župčánová).*

*Introductory Chapter: The Role of Digital Humanistics in Safeguarding Cultural Heritage DOI: http://dx.doi.org/10.5772/intechopen.111759*

• respecting the laws of a functional society in the selected territory in the then noble hierarchy [11–13].

These mentioned factors capture the historical reality and its portraits, not to mention the determination and differentiation of several parts of the structure carrying certain contours, for the objective content impact of the originality of the work [14].

In the entire work, the presence of a "historical plot" is necessary, enabling the presentation of the issue not only in the form of a sequence of connected historical events but also the explanation and emphasis of individual situational events. These are possible general historical connections reflecting more answers to the questions asked, even parallel interpretations and hypothetical constellations of the studied issue in selected regions. The choice of questions is based on the thoughts of the French historian, the founder of the Annales school, Marc Bloch, who claims that the

**Figure 2.** *Castle Slanec (author: Ladislav Župčán/Martina Župčánová).*

questions must be "...extremely flexible, capable of adding more and more points over time and open to any surprise" [15].

The following tasks are indicated in the work schedule:


The most significant investigated indicator is the object-residence, i.e. a specific building with its owners, individual development building sections of the structure with the definition of the territory—the land where the foundations are located, i.e. the remains of the architecture. The key is defining the initial relationships of architectural formations with their own regularities, namely: political, economic, cultural and social dispositions. Descriptive representation of the primary function of objects can declare or even isolate the position of structures in the national context, which evokes the effort to understand the actors of the time who were behind many architectural reconstructions of individually selected complexes [16].

In addition to historical themes, the concept of the work also covers other areas, such as:


The independent construction of the systems in the given space was influenced by two sets of criteria, namely:

I.The formation of one's own territory, on which the foundations of the components are laid, is permanently influenced by the natural conditions affecting construction activities. Among the most important factors of natural conditions, we include the type of terrain, soil composition, forest segmentation and especially altitude. Within the natural environment, it is necessary to observe the applied changes of the human activity of transforming nature in the process of carrying out various construction activities. The formation of fortified formations and centers helps to advance and create the architecture of a higher kind. It is in this place that alongside historical research in the future, it is possible to overlap natural science and interdisciplinary subjects that are on the border of social

#### *Introductory Chapter: The Role of Digital Humanistics in Safeguarding Cultural Heritage DOI: http://dx.doi.org/10.5772/intechopen.111759*

and natural sciences [18]. The sense of interdisciplinarity respects the results of the "diffusion" of views from the circle of civil engineers, art historians, stone masons, economists and economic managers on the subject of architectural units in virtual form.

II.Another criterion is mutual social relations in the form of the cultural structure of the given territory, political-administrative units and economic-communication system, which had a significant impact on the development of the building construction of architectural units. When describing the arguments of social continuity, the knowledge of related scientific fields of history is also a decisive component, such as: ethnography due to the recognition of the ethnic origin of the systems together with cultural ideas (in the given locality in the form of superstitions, myths and legends), not to mention the ethnic origin and status of the owners at the time. Applying art science is important for more precisely assigning the period of the birth of new architectural details. The knowledge of this scientific field can be used especially in the analysis of artistic craft (stonework, carpentry, sculpture, painting) and the architectural character itself. For the investigation of the later period (from the second decade of the 18th century to the first decade of the 20th century), the analysis of drawings and graphics is also essential.

Historical linguistics is also of particular importance for understanding local nomenclature in individual historical eras. In older historical lexicons and chronicles, a lot of data on the investigated material culture of local conditions are recorded in names whose equivalents are difficult to recognize. In order to avoid possible mistakes, not only the oldest existing nomenclature is adopted but also younger equivalents. As Marc Bloch states, "...the studied documents tend to assert their own nomenclature. When a historian obeys this, he writes for everyone under the influence of a different time, otherwise he always thinks in the categories of his own time, even if he writes in different words..." [19].

The priority page of the so-called cultural structure is an examination of the language itself and the waves of migration caused by the economic acceleration of the entire region. The linguistic nature of the territory determined many times the name change of the investigated units, and often even today's names are diametrically different from the original ones, or those recorded in later secondary sources. For that reason, it is necessary to point out their origin and explain their historical names in individual historical stages within the source database. An important source of information in the analysis of the issue is also toponymy and deceased property. Toponomastics helps to name the locality and the units themselves. On the basis of deceased property (according to data from the oldest municipal cadastres), it is possible to at least partially show the development of territorial property in a given location.

In the case of a political-administrative unit, the possibility of expressing the spatial and temporal boundaries of the given territorial unit in combination of the state in the past with the current dispositional units was important. Sources documenting the activities of administrative authorities, which play an extraordinary role in the historical development of the territorial unit, are important when defining boundary contours and determining basic definitions.

For the region itself, the communication network had a double function, as it not only connects long-distance and national roads between individual territorial parts but also defines the boundaries of the territory—plots of land. Within the economiccommunication channel, an important development criterion was mainly the

technical-building level, encouraging the spread of characteristics, specific features and elements of individual styles. The degree of construction level also depended on the application of the function of the objects, such as residential parts, representative and defense mechanisms.

The very role of digital humanities can be summed up in the idea that the modern foundations of historical methodology open the entrances to true arguments and hypothetical constellations for clarifying justifiable historical reality on the principle stones of plurality in terms of views and knowledge from past generational results.

### **Author details**

Ladislav Župčán Centrum pre deti a mládež (Centre for Children and Youth), Nitra, Slovak Republik

\*Address all correspondence to: ladislav.zupcan@gmail.com

© 2023 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

*Introductory Chapter: The Role of Digital Humanistics in Safeguarding Cultural Heritage DOI: http://dx.doi.org/10.5772/intechopen.111759*

#### **References**

[1] Dvořáková V et al. Benátska Charta: Ochrana a obnova pamiatok a pamiatkových sídel, časť Obnova a reštaurovanie, článok 9. In: Ochrana kultúrneho dedičstva v medzinárodných dokumentoch ICOMOS (1. Diel – Charty a odporúčania). Bratislava: Kontakt Plus; 2002. p. 10

[2] Petzet M. Princípy ochrany kultúrneho dedičstva. In: Ochrana kultúrneho dedičstva v medzinárodných dokumentoch ICOMOS (2. Diel – Deklarácie). Bratislava: Kontakt Plus; 2004. pp. 31-37

[3] Viollet LE, Duc EE. Dictionnaire raisonné de l'architecture française du XIe au XVIe siècle. Vol. 8. Paris: Bance et Morel; 1868. p. 14

[4] Sokolovský L. Historické aspekty v lokálnom a regionálnom povedomí: Na príklade Gemera, Malohontu a Novohradu. In: Regionálne dejiny a Dejiny regiónov. Prešov: Katedra dejín FHPV PU; 2004. pp. 49-59

[5] Gottschalk L. Understanding History: A Primer of Historical Method. New York: Alfred A. Knopf; 1950. pp. 21-74

[6] Jaeger, F. – Rűsen, J. Geschichte des Historismus. München: Beck, 1992, p. 33 – 140

[7] Howell, M. – Prevenier, W. From Reliable Sources: An Introduction to Historical Methods. New York: Cornell University/Ithaca, 2001, p. 18 – 89

[8] Medick H. Mikro - Historie. Neue Pfande in die Sozialgesichte. Frankfurt: Fischer; 1994. pp. 62-113

[9] Schlumbohm J et al. Mikrogeschichte – Makrogeschichte. Komplementär oder

inkommensurabel? Göttingen: Wallstein; 2000. pp. 7-33

[10] Vorel P. Základy historické regionalistiky. Pardubice: Fakulta humanitních studií; 2005. pp. 21-82

[11] Kováč D. Miesto historickej vedy pri prognózovaní spoločenského vývoja. In Historický časopis. 1986;**34**(6):897-906

[12] Storey KW. Writing History: A Guide for Students. Oxford: Oxford University Press; 2008. pp. 40-75

[13] Mlateček K. Jak a kdo? O problémech regionálního dějepisectví. In Časopis Matice moravské. 2002;**121**(1):127-132

[14] Šuch J. Frank Ankersmit: Naratívna logika a historická reprezentácia. In Historický časopis. 2009;**57**(1):3-18

[15] Bloch M. Obrana historie aneb Historik a jeho řemeslo. Praha: Argo; 2011. p. 71

[16] Kouřil P, Wihoda M. Česká Kastelologie na rozcestí? In: Archaeologia historica. Vol. 27: sborník príspěvků přednesených na XXXIII. Na konferencií archeologů středověku českej republiky a Slovenskej republiky s hlavním zaměřením na hrady a jejich úlohu v středověkém vojensktví a osídlení. Brtnice – Panská Lhota 17. - 21. září 2001. Brno: Muzejní a vlastivědná společnost/ Ústav archeologie a muzeologie Filozofické fakulty Masarykovy univerzity/Archeologický ústav Akademie věd ČR; 2002. pp. 21-35

[17] Durdík T. Problematika výzkumu hradů v Čechách. In: Archaeologia historica. Vol. 6: sborník príspěvků přednesených na XII. Celostátní konferencie k problematike historické archeologie s hlavním zaměřením na hrady a hrádky v ČSSR. Košice – Zlatá Idka 6. – 10. řijna 1980. Brno/Košice: Múzejní a vlastivedná spoločnosť a Východoslovenské múzeum; 1981. pp. 7-17

[18] Martinello M, Cook GL. Interdisciplinary Inquiry in Teaching and Learning. New Jersey: Prentice Hall; 1999. pp. 28-81

[19] Bloch M. Obrana historie aneb Historik a jeho řemeslo. Praha: Argo; 2011. p. 122

### **Chapter 2**

## Perspective Chapter: Times of Virtuality and Social Isolation – The Mantiqueira Museum and Digital Polyphonic Experiences as Museological Practices

*André Fabricio Silva and Diana Costa Poepcke*

#### **Abstract**

The coronavirus pandemic has brought new challenges for museums in communication and interaction with their audience. This text seeks to reflect on the theoretical aspects of virtuality and digital collections, as well as their uses in museological practices in the pandemic context. As a reflection of the impact of the pandemic on museums, we present the project developed by the Museum of Mantiqueira (MuMan), the "Mantiqueira polifônica", which proposes collaborative sound cartography and reveals the relationship between sound, place, and everyday life, besides highlighting the important role of virtual museums in the preservation and dissemination of local memory.

**Keywords:** museums uncurrent, mantiqueira museum, mantiqueira mountain range, history theral, covid-19, polyphony

#### **1. Introduction**

The historical periods marked by pandemics are characterized by technological advances and changes in values in society and pre-established criteria, which cause social, cultural, political and economic transformations [1, 2]. The pandemic of covid-19 reinforced the phenomenon of virtualization that undoubtedly has already transformed several aspects of everyday life, especially our way of relating, communicating, and being present in a certain time and space, which is now a space constantly permeated by virtuality.

Museums were instantly impacted by the effects of the pandemic, as their doors were closed to maintain the necessary social isolation, while their teams began work remotely. Faced with this new pandemic reality, the institutions suddenly faced various dilemmas of museological communication, especially the virtual one. Virtuality

has taken on a new meaning, as it has become the only way for museums to continue to perform one of their main functions: communication with the public.

However, the need to reinvent one another in the face of the new context was not limited only to the universe of physical museums, but also to virtual museums. Thinking about these two types of museums, Bowen [3] brings an important reflection by noting that "virtual museums interact with virtual visitors, just as real museums interact with real visitors."<sup>1</sup> This statement offers some axes of reflection that are central in this text and in the museological practices of the Mantiqueira Museum (MuMan), which involves thinking about the actions of museums in the virtual environment, digital collections and the very idea of the phenomenon of virtuality as a reflection of the real.

#### **2. Virtuality and communication of the museological object in the digital environment**

Difficult task to demarcate the boundaries between "real" and "virtual", because there is a risk of proposing an opposition between the terms, as if they were two distinct and opposing objects until we realize that they are complementary. It is interesting to think that, after a year of social isolation, our professional, family, and emotional relationships still manifest themselves in the virtual sphere. This discussion intensifies and brings to light the dimensions that involve thinking about the virtuality that is expressed as a reflection of reality.

Pierre Levy, one of the great theorists to philosophically think about the issue of virtuality, is categorical in saying that the virtual does not oppose the real [4]. The author proposes an analysis that understands the virtual as a movement in power, not in act. Thus, virtualization in Levy is understood as one of the main vectors of the creation of reality. It allows people, collectivities, and information to multiply their interactions, enabling a process of deterritorialization. Removed from physical space, the virtual is not only imaginary but produces effects on the subjects, bringing the idea of virtualization as the materialization of the real.

When dealing with virtualization in museums, it is necessary to highlight the debate about the processes of virtualization of museum objects. For Walter Benjamin, the technical reproduction of the art object would result in the loss of its authenticity, which he called the "aura of the object", Benjamin [5]2 removing this aura characteristic of its existence. Contrary to this thought, André Malraux [6] brings the reflection of what could be represented as a virtual space, transiting between the real and the imaginary, from the "imaginary museum", problematizing the function of museums, by centering its analysis on the metamorphosis of the object. For Malraux, the reproduction of the object enables other relationships with it, helping to modify the dialog between the work and the subject from reproducibility, allowing the relationship with the objects of museums through their virtuality. In addition, individuals know artistic productions of different cultures that are displaced in space and time, from reproduction, become atopic and timeless and can be appreciated in different temporalities.

<sup>1</sup> 1999 Bowen [3].

<sup>2</sup> For Walter Benjamin, technical reproduction devalues the present of the work, your brands Historical Of cultural heritage. The aura of art dislikes, this aura that for Benjamin would be the singular figure of the object.

*Perspective Chapter: Times of Virtuality and Social Isolation – The Mantiqueira Museum… DOI: http://dx.doi.org/10.5772/intechopen.109635*

The virtualization of the object is established as a tool that expands the field of operation of museums. As Teresa Scheiner points out, digital technologies contribute to the conservation of heritage, in which "the electronic environment seizes and homogenizes the immense plurality of patrimonialized objects and transforms them, in turn, into new heritage icons – virtual documents." The diversity of the virtual environment represents a reconfiguration of the material and immaterial good, by assuming new forms and functions through the scanning process and its share in the virtual environment ([7], p. 230).

Thus, we bring an important reflection with regard to whether this object or well when being digitized and made available in the virtual environment loses its museal value. As initially highlighted, the virtualization process does not represent that the scanned object is the opposite of the actual object. In the same direction, Marina Gowert of Reis states that the virtual, even if it does not exist physically, is able to produce effects and influence physical reality. The author identifies the virtual community as a space where the virtual is related to the real, to the extent that the process of virtualization of the museological object means the virtualization of information, transmitted in the virtual environment [8]. Concomitantly with this thought, Renata Cardozo Padilha [9] points out that when the museological object is transported to the digital environment, through digitalization and digital reproducibility, it starts to have a virtual dimension, as a "digital museological object". According to Padilha [9], the three-dimensional object of the museum, when digitized, becomes a new virtual existence. This process highlights its transformation into a digital museological object, going through the same processes of musealization, transforming material and immaterial goods into museological goods, and acquiring a new communicational feeling.3

The validation of the "aura" of this object and its recognition by the public, or users of the web environment, permeates the recognition that it has a new history and new uses that require it to fit into this "contemporary intentional way of storing, preserving, organize and disseminate heritage assets". This digital museological object becomes another, which differs from its original reference. From its own identity, it must go through a musealization process, considering its informational function in the digital field. It evokes ideas and thoughts that go beyond the mere musealization process. The relationship between the values added to the object can be amplified in its digitalization process, or virtualization, reinforcing, to a certain extent, the thought elaborated by Malraux about the metamorphosis of objects from their digitalization to virtual use.

It was possible to perceive that, with the popularization of the internet from the 1990s onwards, the museum-web environment relationship and the virtuality of museum objects in their communication with the virtual public has been a matter of concern for some museological institutions and researchers in the area. Although it is a central theme in the discussions to think about the paths that museums should follow in this century, we see, with the advent of the Covid-19 pandemic, that many museological institutions were not adequate to the processes of changes brought about by technological advances. The transformations caused by the pandemic raised some debates about the place of the museum in the digital world, highlighting the need to think about new professionals in the area, whose function permeates the virtual space. Thus, the process of virtualization and consequent metamorphosis of the museological object, which was already on the rise with the growth of technologies,

<sup>3</sup> p 2018, p. 21.

was accentuated during the period of the pandemic. If at first we observed skims about the possible dialog between virtuality and museums, the pandemic made it a primary necessity, causing direct effects on the museological field.

The Brazilian Institute of Museums (Ibram) highlighted the growing number of virtual actions promoted by Brazilian museums since the beginning of the covid-19 pandemic [10]. Thinking about Brazilian reality, the instant use of the virtual environment revealed that Brazilian museums were not able to experience the virtual immersion that can provide to the public. This experience, according to Nathalia Lavigne, refers to the fact that the visit to a museum brings with it a series of body choreographic rites that involves the way we relate to the musealized objects and the processes of subjective transformations provided by this encounter [11]. Therefore, this experience should be thought of equality in the virtual environment.

#### **3. Virtual museums, collections, and oral history**

Faced with the problem, two points deserve to be highlighted and presented as a reference of museological actions, since their genesis is already established as important communication tools in the virtual environment, through digital collections, being: the museum virtual and the oral historian.

Bernard Deloche points out that virtual museums are characterized as spaces of records produced directly in the virtual environment, establishing itself as a field of mediation and relationship of heritage with virtual audiences [12]. It is a museum that highlights virtual communication as a way to present a certain heritage. In parallel, we have the field of oral history and its records that seeks to register and digitize orality. The preservation of oral history collections contributes to bringing the presence of memory. Such collections can be digitizations of old collections that were recorded in some analog audiovisual media or are collections created with digital equipment, that is, a nato-digital collection. The preservation of oral reports has highlighted the importance, as they seek to record oral expressions and narratives that are not expressed in the typologies of traditional collections safeguarded through digitization. They contribute to the diffusion of other memories that have been forgotten or silenced.

In view of the debate presented on the experiences that digital collections represent from the sensations amplified in the process of digitization of the collections, establishing a communication that expands from its uses in virtual spaces, we will present a case of MuMan's experience during the pandemic. A virtual museum that has been developing a work of oral records, from the perspective of a virtual open-air museum, which seeks to musealize the territorialities of the Serra da Mantiqueira through digital devices and platforms. It fits the double point highlighted above: it proposes a virtual experience through the digitization of oral reports and offers an expanded experience between the virtual museum and digitized oral collections.

#### **4. The Mantiqueira Museum (MuMan)**

MuMan had its first concepts formatted and published in 2013, being a virtual open-air museum, which seeks to musealize the territories and territorialities of the Serra da Mantiqueira through digital devices and platforms, creating paths, narratives

#### *Perspective Chapter: Times of Virtuality and Social Isolation – The Mantiqueira Museum… DOI: http://dx.doi.org/10.5772/intechopen.109635*

and expographies that allow experiencing the cultural heritage of the region in its sociospatial context. Although virtual, MuMan preserves in its essence the interaction with its audience through a choreographic performance and transposes it to a hybrid model of expanded reality, in which the visitor enjoys part of the virtual experience and also experiences the territory4 *itself on site*.

MuMan seeks to musealize the ways of life of mantiqueirenses, the ways of being and being in the territory, with its diversity and uniqueness. Fulfilling the main museological functions, the museum's mission is to study, safeguard and disseminate the cultural heritage of Serra da Mantiqueira. To this end, it has a digital collection available on the museum's website and is divided into three collections: 1. "Oral History", oral history interviews conducted by MuMan with the local community; 2. Two of them. "Iconographic", selection of digitized photographs from public and private physical collections; and 3. "Documentary", the selection of official documents and digitized newspapers from the physical collection of different organs and vehicles in the region.

Currently, the collection research projects are aimed at the constitution of a digital collection composed of narratives of life in audio and video, part of the collection of história oral. These collections are performed by the research team and require physical contact. We can hardly perform extensive oral history research without the immersive process in the territory. This collection method developed by MuMan – also applied in other museums, such as São Luiz do Paraitinga Museum,<sup>5</sup> Zé Pereira Museum and Monteiro Lobato Folk and Pedagogical Historical6,7 Museum – proved unfeasible in the face of the pandemic context and social isolation. Within this reality, MuMan was awarded by the ProAc LAB notice "Award for Historical Museum of the State of São Paulo" with the project that created8 or the *Mantiqueira Polyphonic* platform, a new way of collecting collection and interaction

<sup>4</sup> The Serra da Mantiqueira is one of the largest geographical formations in Brazil, characterized by a mountain range that extends for more than 500 kilometers, sewing three states of southeastern Brazil: São Paulo, Minas Gerais and Rio de Janeiro. This chain, formed from large vertical tectonic movements, consists of infinite ridges and seas of hills between the cities of Bragança Paulista (SP) and Barbacena (MG).

<sup>5</sup> Project of ampimplementation of the adeer of the Oswaldo Cruz Historical and Pedagogical Museum, approved by the edital of the ProAC Preservation of Museological Collections 2018. During the development of the project, the pLano museological for the museum, which municipalized the institution and switched its name for Museu São Luiz do Paraitinga – Oswaldo Cruz House. The project was carried out by enterprise ConectaMUS and delivered to the community in November 2019. Site: https://www.saoluizdoparaitinga.sp.gov.br/post/museu-sao-luiz-do-paraitinga--casa-oswaldo-cruz\$48837.

<sup>6</sup> Project "Exposure permanente of the Museum of Ze Pear tree", than included the search process and collecting of collection. FHi contemplated by the edict of the ProAc Dissemination of Museological Collections 2018. Executed by the ConectaMUS and delivered to the community in January 2020. Site: https://saobentotur.com.br/\_cultura/museu-do-ze-pereira.

<sup>7</sup> Project "Modernization MHFPML: 100 years of *The menina of the nariz arrebitado*", approved by the edital of the ProAc 2019 Museum and Collection sisation, in which a survey of digital collections was carried out in a network.

<sup>8</sup> Program Cultural Action (ProAc) is legislation from encouraging culture of the estado of São Paulo created in 2006 through Law N° 12.268/2006. Or ProAc finances activities cultural and artistic offering, from annual notices, values for the financial viability of projects of various sizes and types presented by residents of the estado. The nominated edition "LAB" are the edicts with resources from the Aldir Law Blanc (Law No. 14,017 of June 29, 2020).

with its public during the pandemic, without losing the experience of the territory as an open air museum.

#### **5.** *Mantiqueira Polyphonic***: a sound and collaborative cartography**

Polyphony, in music, is the compositional technique in which sound textures are produced and performed in which various melodies or independent voices are present in a harmonic way, generating a melodic and rhythmic character [13] in literature, Bakhtin uses this concept to analyze, above all, Fiódor Dostoiévski, dealing with polyphonic romance, the one in which each character functions as an autonomous being, with vision, voice and position in the world [14, 15]. Here, dialogism can arise between the voices of the characters, the narrator, the readers and the writer.

When we turn our gaze to the relationships between memories and identities that emerge from a territory, it is understood, beforehand, that they are a true discursive polyphony, where several interdependent voices can come to harmonize or disarm, thus creating a dialogism around the same reality. It is interesting to think that sounds occupy spaces and are potential agents of actions and reactions, so they produce invisible borders, but material, participating in disputes and negotiations around the use and meaning of public spaces.

*MuMan's Mantiqueira* Polyphonic project was created from the understanding of the importance of all these elements that involve the relationship of the subjects with the territory. It is constituted as a digital platform of dual function: collecting collection in a collaborative way, engaging the public of the museum, transforming it from visitor to an active collaborator of the collection, and creating a sound and collaborative cartography of the Serra da Mantiqueira, with the objective of showing what are the sounds, voices, music, noises and vibrations that the inhabitants live in their daily lives, configuring the territory as a representative element of mantiqueirense identity.

The collaborative character of the platform has several functions, such as strengthening the community's relationship with the museum's collection and making the community itself recognize itself in it. The platform design is designed for a multitude of approaches while enabling employees to create their own sound projects, which are presented with separate and individual keywords of recordings within the map. Sound records can be recorded directly from the mobile phone and sent by the museum's own virtual visitors to the platform.

The records within the platform are divided into eight sound categories and into two groups. The first are soundscapes, composed of the categories: sounds of the city, sounds of nature, sounds of the house, and sounds of the swidden. The second is the voices, composed of the categories: causes, life reports, ways of doing, and ways of speaking [16].9 The same record can fall into more than one category. However, it is up to the user, who assumes here the role of researcher-curator, to choose which tonic he wishes to give to the registration made. The material is received by the museum staff and is approved individually to then become available online. Thus, the public of the museum interacts with the virtual exhibition – cartography – and with the collection, to the extent that the registration is made with minimal social contact.

<sup>9</sup> These categories were based on the experiences highlighted by *Michel* from *Certeau In Relations that the subjects establish with the territory*.

#### *Perspective Chapter: Times of Virtuality and Social Isolation – The Mantiqueira Museum… DOI: http://dx.doi.org/10.5772/intechopen.109635*

The platform was launched in August 2021 and is already in use.10 Some of the records inserted are of people who live with their families and take advantage to collect the stories or sounds of everyday life. Some were collected via WhatsApp or in transit between one location and another. To stimulate the contribution of users and qualify professionals who can use the platform as a teaching tool, concomitantly with the launch of the platform, distance training in Oral History and Virtual Collections was launched in May of this year, in order to disseminate knowledge about capturing life history reports.

From this training, several projects were developed, among them a pedagogical project in Baependi (MG), conceived and developed by professor Maria Fernanda Silva Alves, participant in the training. In this project, history students of the eighth grade class of the Anísio Esau dos Santos State School, in the neighborhood of São Pedro, a rural area of the municipality, will collect the reports with their cell phones and register on the platform. They're students who are taking remote teaching classes. It will be a way to increase their interactivity with school content and technology, making *them understand concepts such as primary source*, orality, and memory and, together with this, make them perceive themselves as historical subjects, stimulating the feeling of belonging to their community and local history.

In a month of the platform, many records have already been received from visitors-users from different places in the territory of Serra da Mantiqueira: São Bento do Sapucaí (SP), Campos do Jordão (SP), Monteiro Lobato (SP), Itajubá (MG), Canas (SP), Taubaté (SP), Baependi (MG), among others. Users of different ages and backgrounds. It is possible to identify a diversity of daily reports, such as the project made about corn flour, typical food of Mantiqueira, present in the daily life of all residents in various dishes, such as corn turn, turned beans, turned banana. There are several records brought involving the universe of cornflour. One of them, in "sounds of the swidden", is the "Som andxterno de moinho", recorded in Baependi, which, according to the description of the record itself made by the user "[…] shows the strength of the water that makes the mill turn and grind of cornflour." Other collaborators brought reports and memories about a traditional flour house in the city of São Bento do Sapucaí, also categorized as "ways of doing it". The report is described by the user as "reporting the structure of the cornmeal plant, employees, distribution and sale. Uses of cornflour in local cuisine and region."

Such records are good examples of characterization of the cultural landscape of the mountains. The other sound universe, which is already being mapped, are the soundscapes that have no voices or memories. They are, for example, the sounds arising from phenomena of nature, such as the "Rain", recorded in Campos do Jordão. There is also the "Fire lit in the fireplace" registered in the neighborhood of Serranos in São Bento do Sapucaí and "Cars and birds", registered in the center of Taubaté. There are several sounds, even noises, that also help to make up the sound polyphony of this territory.

These are some of the examples present on the platform today. Todavia, is a project designed for long-term development. Although created for the pandemic context, it is a format that will still reveal a kaleidoscope of possibilities from the moment the users themselves appropriate the platform and attribute other uses and meanings, different from those that were thought of in its original conception.

<sup>10</sup> Available in: https://museudamantiqueira.com.br/mantiqueirapolifonica.

Through the *Polyphonic Mantiqueira* it will be possible to observe that identity is constantly changing, because memory is also in motion. It will be possible to attribute new meanings to the past and the present, living new experiences, providing new sensations from the sound. The complex process of identity construction is permeated by polyphonies in which dialogical elements will appear in so many voices and sounds; in the feeling of a group created by the collective imaginary or through other elements such as sounds, language, customs and common territory.

#### **6. Conclusion**

We seek here to highlight that the virtual experience can serve as a great tool of the actions of museums. The virtual environment emerges as another possibility of the transformation of individuals from their relationship with digital museological objects, thus expanding the social function of museums. We know that one of the major challenges of museums is to rethink the uses of virtualities, and it is necessary to increase digital efforts in communication with their audience.

The pandemic caused profound changes in the actions of museums, which were forced to rethink their virtual presence, requiring in this context new methods of interaction with the virtual public. MuMan, even if it fits the typology of virtual museum, similarly saw the need to rethink its actions and propose new experiences so that the public could interact with the museum and the territory in a safe way, respecting the sanitary protocols of social isolation. Thus, it is possible to contribute to the expansion of its digital collection without the museum needing to go to the public to carry out oral records. The *Mantiqueira Polyphonic project* emerges, then, as a proposal to expand the access of the virtual public to the museum and democratization access to the collection through a platform of easy interaction, in which anyone can share their sounds, being voices, memories, or soundscapes.

In addition to the theme and examples highlighted here, it is necessary to reflect and understand that, for the subjects to have a complete experience of the virtual scope, there must be the necessary democratization of this access. And for this, we understand democratization not only the development of actions designed for the virtual environment but also how the public will have access to this environment. It is necessary to think about inclusion in the virtual environment and understand that several groups have difficulties in using the virtual environment for several factors, such as the low quality of the Internet, few technological resources, physical, visual, auditory, intellectual, and psychosocial disabilities, social inequality, among others. It is essential to rethink this new concept of audience and how virtual communications of museums can access their audience democratically.

*Perspective Chapter: Times of Virtuality and Social Isolation – The Mantiqueira Museum… DOI: http://dx.doi.org/10.5772/intechopen.109635*

#### **Author details**

André Fabricio Silva1,2\* and Diana Costa Poepcke3,4

1 Programa de Pós-Graduação em Museologia e Patrimônio, Universidade Federal do Estado do Rio de Janeiro (UNIRIO)/Museu de Astronomia e Ciências Afins (MAST), Rio de Janeiro, Brazil

2 Universidade Estadual do Paraná (UNESPAR), Curitiba, Brazil

3 Museu da Mantiqueira (MuMan), Brazil

4 ConectaMUS, Taubaté, Brazil

\*Address all correspondence to: andrefabricio.ufop@gmail.com

© 2023 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

### **References**

[1] Scheidel W. The Great Leveler: Violence and the History of Inequality from the Stone Age to the Twenty-first Century. Princeton; Oxford: Princeton University Press; 2017

[2] Vick M. Pandemic: Origins and impacts, from bubonic plague to covid-19. Nexo June 21. 2020. Explained. Available in: https://www.nexojornal. com.br/explicado/2020/06/20/ Pandemia-origens-e-impactos-da-pestebub%C3%B4nica-%C3%A0-covid-19. [Access: 9 Sep. 2021]

[3] Bowen JP. Time for renovations: A survey of museum web sites. Archives & Museum Informatic. Available from: https://www.archimuse.com/mw99/ papers/bowen/bowen.html. [Access: 9 Sep. 2021]

[4] Lévy, Pierre. What is virtual? 2nd ed. Translation by Paulo Neves, São Paulo: Ed. 34, 2011

[5] Benjamin W. A obra de arte na era da sua reprodutibilidade técnica. In: CAPISTRANO, Tadeu (Org.). Benjamin e a obra de arte: técnica, imagem, percepção. Tradução: Marijane Lisboa e Vera Ribeiro. Rio de Janeiro: Contraponto; 2012. p. 11-42

[6] Malraux A. Le musée imaginaire. Paris: Gallimard; 2006

[7] Scheiner CMT. Images of the nonplace: communication and the heritage of the future. [thesis (doctorate)] - Graduate Program in Social Communication, Federal University of Rio de Janeiro, Rio de Janeiro. 2004

[8] Reis, dos Gowert M. Brazilian cultural heritage in the digital age: From the digitization of collections to participatory preservation on the Internet. [thesis (doutorado)] - Graduate Program in Social Memory and Cultural Heritage. Pelotas: Institute of Human Sciences, Federal University of Pelotas; 2019

[9] Padilha RC. The representation of the museological object at the time of its digital reproducibility. [thesis (doctorate)] - Graduate Program in Information Science, Center for Educational Sciences, Federal University of Santa Catarina, Florianópolis. 2018

[10] Brazil. Post-covid reflections and practices. Ministry of Tourism. 25 Aug. 2021. Available from: https://www.gov. br/museus/pt-br/assuntos/os-museus/ reflexoes-e-praticas-pos-covid. [Access on: 2 Sep. 2021]

[11] Lavigne, Nathalia. Overdose of lives and virtual museums cause tiredness and vertigo. Folha de São Paulo. 17 Apr. 2020. Available from: https://www1.folha.uol. com.br/ilustrada/2020/04/overdosede-lives-e-museus-virtuais-causamcansaco-e-vertigem.shtml. [Access: 9 Sep. 2021]

[12] Deloche B. Le musée virtuel: vers une éthique des nouvelles images. Paris: PUF; 2001

[13] Perrotta C. Por uma definição unificada de textura musical. Dissertação (mestrado) – Programa de Pós-Graduação em Música. Salvador: Universidade Federal da Bahia; 2018

[14] Roman AR. The concept of polyphony in Bakhtin: The polyphonic path of a metaphor. Letters. 1993. Editor a of UFPR ;**42**:195-205 [Access: 12 Sep. 2021]Available from: https:// revistas.ufpr.br/letras/article/ view/19126/12426

*Perspective Chapter: Times of Virtuality and Social Isolation – The Mantiqueira Museum… DOI: http://dx.doi.org/10.5772/intechopen.109635*

[15] Pires VL, Tamanini-Adames FA. Development of the Bakhtinian polyphony concept. Semiotic Studies. 2010;**6**(2):66-76. Available from: https:// www.revistas.usp.br/esse/article/ view/49272 [Access: 14 Sep. 2021]

[16] Certeau M. Floor la ciudad. Bifurcaciones. Revista of urban cultural studios. Number 7, July 2008. Available from: http://www.bifurcaciones.cl/007/ colerese/bifurcaciones\_007\_reserva.pdf. [Access :04/11/2021]

### **Chapter 3**

## Perspective Chapter: Museums and the Metaverse – Emerging Technologies to Promote Inclusivity and Engagement

*James Hutson and Piper Hutson*

#### **Abstract**

Over the past two decades, museums have increasingly sought to build connections with the community and increase inclusivity of visitors. At the same time, emerging technologies, such as extended reality (XR) and virtual museums (VM) are increasingly adopted to engage with different generational expectations but also for the purposes of supporting inclusivity and neurodiverse populations. First such technologies were adopted to augment exhibitions in the physical museum space for edutainment. Since then, XR has expanded from room-size environments (CAVEs) and augmented exhibitions to the creation of entire virtual museums, such as The Museum of Pure Form and The Virtual Museum of Sculpture. Digital twins of museums are increasingly common, along with UNESCO World Heritage Sites. Such virtual experiences can be leveraged to prepare neurodiverse visitors prior to visiting a museum. This chapter will outline how existing approaches to social stories and sensory maps may be combined with XR experiences to support neurodiverse visitors and their families. While onsite, immersive technologies can be used both for engagement and to provide accommodations for greater inclusivity and diversity.

**Keywords:** neurodiversity, social stories, sensory maps, museums, ASD

#### **1. Introduction**

In times of public health crises when travel becomes restricted, public spaces close, and anxiety over an uncertain future spread, institutions must adopt an agile mindset to continue to engage with their constituents in innovative ways. At the same time, such events as the global spread of COVID-19, which the World Health Organization (WHO) classified a pandemic on March 11, 2020, promote human resilience and spur innovative solutions to emerging problems that find application beyond their immediate intended use cases. Such was the case for cultural heritage institutions who had to quickly pivot to find new ways for the public to engage with their collections. The call to stay home and limit large gatherings of people led museums, galleries, and cultural heritage sites to close around the globe almost overnight. For instance,

the Smithsonian announced all 19 of its related institutes, museums, and even the National Zoo would close to the public on March 14, 2020 [1, 2].

At first, front-of-house staff were repurposed in other areas, such as helping to catalog and digitize collections [3]. But as the pandemic wore on, there was increased pressure for furloughs and then layoffs among museum staff and educators [4]. To stave off further loss of human capital and retain public engagement with sites and collections across the globe, many museums turned to emerging technologies. For instance, The Louvre in Paris spent much of the year digitizing and then releasing over 480,000 pieces from its collection in 2021 on their platform, while the work began in 2017 for digitizing UNESCO World Culture Heritage Sites would provide remote access to global locations cut off by border closures and travel bans in 2020 [5, 6].

An unprecedented investment in research and development followed with companies such as Facebook (now Meta) to make extended reality (XR)—including augmented reality (AR), mixed reality (MR), and virtual reality (VR)—commercially available, user-friendly and affordable. The launch of the all-in-one head-mounted display (HMD) Oculus Quest 2 (released October 13, 2022) represents a watershed moment for immersive experiences and the ability to engage the public [7]. At the same time, advancements were made in digital twin technologies. While previous photogrammetric techniques would require thousands of individual photographs painstakingly stitched together manually to create 3D models of objects or spaces, the latest generation of software compiles millions of individual images automatically [8]. The latest handheld scanners, such as Scantech, can also be used to produce high-resolution digital twins of objects, complete with precise colors and textures [9]. Both VR HMD and digital twin systems are now highly portable, user-friendly, and affordable. These technologies are now poised to work in tandem to create high-fidelity recreations of objects and historical sites and view in an immersive environment anywhere in the world.

The advances in technology coupled with the demand for virtual experiences accelerated by the global pandemic have led to an unprecedented effort to digitize museum collections and create digital twins of locations globally. The initial impetus for such projects was to allow for access to locations that were closed to promote social distancing and to incentivize future tourism in general [10]. However, as this chapter will outline, the availability of digital versions of spaces and objects contained within and the hardware to view prior to and during visitation can now be leveraged to support inclusivity and accessibly efforts for neurodiverse populations in cultural heritage institutions. Efforts to support diverse populations with a variety of needs have dominated scholarship on museum studies since the last millennium. With an estimated 10% of the world's population (650 million people) living with a disability, museums have introduced many strategies to promote accessibility. For instance, audio and visual aids have seen widespread adoption, including audio guides, captioning, and sign language interpretation for visitors who are blind, deaf, or hard of hearing. Accessible facilities include wheelchair ramps and elevators, as well as accessible restrooms and parking for those with mobility restrictions. And inclusive programming showcases underrepresented perspectives to celebrate diverse cultures and communities. However, the unique needs of neurodiverse visitors have only recently begun garnering attention [11, 12].

#### **2. Neurodiversity and museums**

The American Alliance of Museum (AAM) commissioned a study to review how inclusivity efforts were being implemented across institutions, as well as perceptions of

#### *Perspective Chapter: Museums and the Metaverse – Emerging Technologies to Promote Inclusivity… DOI: http://dx.doi.org/10.5772/intechopen.110044*

such programming by both regular museum attendees and the public in general during the pandemic [13]. The results of the study were used to develop resources and strategies for museums, including primers for professionals to support efforts to promote diversity, equity, accessibility, and inclusion (DEAI). Support for such efforts have gained momentum with museum administrators and researchers, especially in addressing physical disabilities, however, the same call to action for supporting neurodiversity has yet to be headed. The lack of attention paid to this marginalized community becomes clear when reviewing AAM primers, which do not even mention neurodiversity [13]. Therefore, while advances in inclusivity efforts have been made with regards to ethnicity, culture, physical disability, race, religion, and gender, there remains a significant percentage of the population not considered [14–16]. With an estimated 15–20% of the global population considered to be neurodiverse, greater attention needs be paid to the specific needs of this group [17]. The population is also estimated to be growing. In 2022, the Centers for Disease Control and Prevention (CDC) reported that 1 in 44 children were diagnosed with autism spectrum disorders (ASD). The rate of diagnosis makes this population one of the largest among those with disabilities [18].

Individuals with ASD are classified as having neurodevelopmental difficulties, which may include autism, ADHD, ADD and dyslexia as the most common co-occurring diagnoses [18]. The different types and levels of social and intellectual abilities of the group require the diagnosis to use the term "spectrum disabilities" due to the way in which they can manifest. Despite such diversity in experiences and abilities, there are certain physiological considerations for museum professionals to consider when designing experiences that are inclusive. For example, those with ASD can find navigating museum spaces challenging given crowds, unexpected audio modulation, and/ or lighting intensities [19]. Furthermore, museum challenges can include unforeseen vestibular sensory input from interactive exhibitions, close proximity of large crowds, and an overactive visual field.

The average museum going public may not experience stressors with sensory stimuli common in museums, such as noise, waiting in lines, crowds, or exhibition lighting, but those with sensory sensitivity may. Moreover, the 2001 Council for Museums, Archives, and Libraries identified that a fully accessible program should include many considerations associated with access, such as social, financial, emotional, attitudinal, cultural, and/or educational [20]. Notably absent were sensory considerations of access. Therefore, Schwartz and Knowles recently recommend readjusting the list to expand considerations of sensory needs of visitors. Sensory sensitivities not only dissuade those with ASD from visiting certain locations, but also their families due to the potential negative social behaviors that might arise [21].

Addressing the needs of the neurodiverse population of visitors to museums has only recently entered the accessibility conversation. The broadest adoptions regarding accommodations in institutions remain confined to physical accessibility with considerations for those with ASD emerging in the United Kingdom (UK) in large and established museums with resources [22]. Those programs that do exist that support accessibility for neurodiverse populations commonly use the following strategies:


tactile exhibits, as well as identifying potentially problematic areas with larger crowds or loud noises.


A holistic approach to accessibility is being considered that addresses pre-visit planning and resources to familiarize visitors with sensory information and routes through unfamiliar locations [23, 24]. Support onsite can include accessibility maps, museum social stories, sunglasses, headphones, and even therapy putty [25]. Engaging a sensory sensitive audience now includes integrating kinesthetic or tactile exhibits and including "cool down" spaces with sensory modalities that allow individuals who are overstimulated to regulate their cognitive flexibility and extended the duration of the stay. Such areas are often equipped with therapy balls, mats, mood lighting, and sound modulation [26]. In certain programs, trained occupational therapy students run special sensory activities, and act as personal tour guides to support visitors and foster exhibit interactions [12]. Given that parents with children with autism report 70% higher rates of anxiety, isolation, and depression, the sense of well-being and belonging in the museum experience is significant and impactful [27].

One way a positive experience can be facilitated is to ensure preparedness for a visit. Research gathered indicates that families that feel prepared for the visit and prepare all involved greatly affects the quality of the experience that follows [28]. One of the most common ways individuals and families prepare is gathering information via the internet. An institutions website, social media pages, and advocacy organizations all provide information to learn about an organization and neurodiverse programming available there. The channels for disseminating information and social sharing are evident in that 35% of museums offer a mobile application (app). Therefore, the dialogical relationship between visitors and the museum is one that unfolds through storytelling—information is passed from the institution to visitors and, in turn, visitors provide feedback via social media. The development of this dialog is ongoing and helps create a personal story through the interactions prior to a visit and then shared thereafter [29]. But overcoming the anxiety of visiting an unknown location and potential sensory processing issues once onsite is just the first step towards accessibility.

#### *Perspective Chapter: Museums and the Metaverse – Emerging Technologies to Promote Inclusivity… DOI: http://dx.doi.org/10.5772/intechopen.110044*

Studies have revealed that 44–52% of those diagnosed with ASD have additional learning disorders or difficulties. That being the case, once the population overcomes the physical barriers to entry, comprehending the educational material presented represents another obstacle [30–32]. Fortuitously, museums were prepared for the needs of diverse learners and already have a range of resources to assist. Through online resources and digital access, collections, exhibitions, and educational resources are available remotely and, once onsite, virtual tours, digital audio guides and other interactive digital experiences further understanding of curated content [33]. On the other hand, the digitizing of collections and digital twin mapping of museum spaces carried out during the pandemic was not carried out with the directive of creating inclusive experiences. As such, the content was created for the neurotypical population at large [5, 6]. But these digital resources can be reconfigured and combined in a novel way with other strategies for inclusivity to assist individuals better understand the site they will visit and the societal expectations through the use of expanded digital storytelling [34].

#### **3. Digital storytelling and museums**

The use of storytelling as a method to convey information is an inherently human strategy and is counted among the oldest of social practices for communication and learning [35, 36]. With the expansion of digital technology, the way in which stories are delivered and received has been transformed and conceptualized into digital storytelling through various digital communication tools [37]. Instead of one medium used to tell a story, such as a speech, text, or video, digital storytelling often combines video, text, audio narration, and more into a multimodal experience. With the latest generation of emerging technologies in XR supported by artificial intelligence (AI), multimedia digital communication tools and hypermedia-supported tools can expand the limits of storytelling for museum goers and support neurodiverse populations [37–41]. This approach does not require investment in infrastructure or a radical reworking of current educational content to be effective.

Most institutions already provide accessible resources through a variety of mechanisms including their websites, social media accounts, digital applications, or traditional printed handouts of maps or museums guides. These resources are being coupled with mobility-enhancing systems using interactive digital storytelling, personalization and adaptability, and mixed media [42]. The new, enhanced experiences have the potential to improve the attractiveness of not only cultural heritage sites and museums, but also act as a new conduit for interpretation, analysis, and cultural knowledge for diverse communities. Additionally, the innovative use of new digital technologies will provide new forms of cultural interactive experiences that are comfortable, sensory-friendly, and comprehensible to neurodiverse audiences.

While existing accessibility resources seek greater inclusivity in visitor experience, new considerations delivered via digital storytelling can serve to address obstacles for neurodiverse individuals. In general, inclusivity seeks to provide equal access to opportunities and resources for potentially marginalized populations. In order to be truly inclusive, these individuals must not only feel welcomed on location through accommodations, but also prior to the visit. An understanding of the travel logistics, parking, desired paths mapped by curatorial staff, sensory-friendly areas, and more can reduce anxiety of the unknown for those with ASD and assist with sensory processing hinderances before even entering the physical space of a museum itself. Providing such

information through existing technology and digital assets facilitated with expanded digital experiences leads to a better experience and retention of educational material presented onsite during regular operating hours [43]. While "Sensory Days" seek to offer experiences tailored to those with ASD, they inadvertently segregate the population from the general public and imply that "normal" visiting hours are not for them [44]. Through expanded digital experiences, a sense of belonging can be created where regular visiting hours are welcoming. In addition, the ability afforded through virtual walkthroughs and digital recreations of the location provides an opportunity to revisit the site, review educational materials provided, and encourages post-visit interactions through sharing experiences on the institutions social media platforms. All of this instils conceptual anchors of memory and subsequent reinforcement of institutional messaging [25]. Other ways digital storytelling can support accessibility for neurodiverse visitors include:


Digital storytelling can thus allow visitors to personalize their experiences by providing a wide range of options, tailored to their specific needs, interests, and preferences, making the experience more engaging and inclusive. In a technologydriven age, museums are seeking a variety of these tools using XR to stay current with the ways their visitors are engaging with the world in their daily lives.

The ways in which museums are seeking to tell stories with technology include digital tour guides, AR and Bluetooth technologies, and smart museums. The integration of digital tour guides is becoming more commonplace, and companies are looking to support this adoption. Examples such as Mobile Tour App and Digital Guide System are digital solutions that allow museums to embed their own images, videos, and audio of their collections for visitors to experience [45]. The multimedia component allows for greater memory retention than traditional storytelling by addressing different learning styles [46]. This new form of content delivery combines participation commonly seen with computer or video games complete with automatic story generation and narration. For example, the British Museum uses AR in their mobile game A Gift for Athena (2014) for the Parthenon gallery using tablets that can be checked out. The game tasks visitors with finding specific statues based on an outline and rewards them with more information about the works prior to assigning another task to explore [47]. Furthermore, these digital tours need not be solely in person. Virtual experiences can also represent inclusive alternatives to traditional

#### *Perspective Chapter: Museums and the Metaverse – Emerging Technologies to Promote Inclusivity… DOI: http://dx.doi.org/10.5772/intechopen.110044*

museum visits through the digital embodiment of historical characters and their stories that may also blend physical artifacts with the immersive experience [29]. In such a way, visitors can experience the rich tapestry of stories in museum collections prior to visiting (if at all) and have a greater understanding onsite.

Along the same lines as digital tour guides, smart museums are also eliminating physical barriers to their collections by allowing technological advancements to remove sensory barriers, as well. Smart museums, such as the Smart Museum of Art (Chicago) bring together traditional exhibitions with emerging technologies where the use of immersive technology seek to enhance how material on complex cultural heritage is delivered to visitors [48]. The use of technology to enhance visitor experience can include interactive exhibits, virtual reality experiences, and mobile apps that provide additional information and resources. Smart museums may also use technology to collect data on visitor behavior and preferences, and to improve the overall management and operation of the museum. Overall, the goal of a smart museum is to make the museum visit more engaging, interactive, and personalized for visitors. The transition to becoming "smart" refers to the heterogeneous technologies allowing museum environment to become more interactive, innovative, and accessible [49].

Therefore, the infrastructure and ability to move past the elimination of mere physical barriers for museum accessibility exists. The developments support the call for greater attention to neurodiverse accessibility as only addressing physical disabilities and accessibility will no longer suffice. The new multisensory approach afforded by digital storytelling and smart museums is essential to remove barriers to learning as part of the museum experience [50]. Once sensory obstacles have been removed and/or minimized, personalized learning experiences can be tailored to each individual and material and spaces delivered by way of storytelling. At the same time, engaging visitors through multisensory approaches and considerations can bolster learning for stories are not limited to oral communication and are critical for the creation of an atmosphere through the senses.

The elicitation of emotions such as empathy enriches stories, maintaining the attention of the audience while also creating memorable experience one can become invested in [51]. Storytelling supports other cognitive factors that improve learning, including improving attention and time on task by keeping the listener engaged, and empathy through emotional identification with the subject providing a cognitive framework to help understand and retain new information [52]. Drawing upon previous research, the following proposes leveraging the engaging nature of storytelling and delivered through the new immersive and interactive digital experiences to mitigate various ASD symptoms that would prohibit access to and appreciation of cultural heritage in museums. The educational resources of social stories and sensory maps that have been created to support neurodiverse visitors with various sensory processing disorders (SPD) should be digitized. The proposed "storymap" combination can then be transformed into a digital expression and experience through digital storytelling strategies. Taken together, this digital storymap can provide support prior to the visit, onsite, and engage diverse audiences with personalized, story-driven narratives of museum collections, while supporting multisensory experiences.

#### **4. Sensory maps and museums**

Visual stories, or sensory maps, may be used prior to visitation to prepare visitors for what to expect onsite. Such sensory maps provide "descriptions of a particular

situation, event or activity, which include specific information about what to expect in that situation and why" ([53], p. 168). A sensory map is a guide that highlights sensory-friendly areas and features of a museum, such as quiet spaces, low lighting, and tactile exhibits. The resource can be a helpful tool for visitors with autism or sensory processing disorders (SPD). Research has noted that families with ASD children also have accompanying sensor processing and participation challenges 40–90% greater than other populations [54]. Additionally, studies also confirm that even adults who are overresponsive to stimuli in the environment describe their museum visits as disorganized, overwhelming, irritating, and distracting. The situation may result in the need to cope by spending extensive periods of time alone in order to regulate their emotional state, and result in feelings of isolation and exhaustion [55].

Regardless of demographic considerations such as age, visitors with SPD are often grouped into two separate categories by museum and occupational therapy researchers as either sensory avoiders or sensory seekers [25]. Sensory avoiders are individuals with SPD who have a heightened sensitivity to certain stimuli, such as loud noises or certain textures. This population may avoid or have an aversion to certain types of sensory input, as it can be overwhelming or uncomfortable for them. Sensory seekers, on the other hand, are individuals with SPD who have a lower sensitivity to certain stimuli and may seek out more intense or varied sensory experiences. Individuals who seek stimuli may have a greater need for movement and touch, which often results in easily becoming board in environments. Both groups face challenges that might manifest as either unwanted behavior that elicit sensory input, such as a compulsion to move, bump into other visitors, maintaining an understanding of their presence in space, or, alternatively, actions that seek to avoid stimuli by covering ears due to noises, and/or difficulties retaining attention with multiple sensory inputs. In both cases, the individuals may have difficulty interpreting and processing sensory information appropriately. Addressing the concern, sensory maps plot routes considering which galleries are most congested, loud noise areas, and potential tactile exhibitions in order to address the needs of both populations [21].

Understanding the different sensory processing subcategories and groups affected will assist museum administration in better serving these populations. For instance, the categories of sensory processing include: auditory (hearing), gustatory (or taste), tactile (touch), proprioception (body awareness), vestibular (balance), visual (sight), and olfactory (smell) referencing [56]. Furthermore, within SPD there are generally three subtypes of sensory processing—*hypersensitivity, hyposensitivity,* and *general sensory overload*.


*Perspective Chapter: Museums and the Metaverse – Emerging Technologies to Promote Inclusivity… DOI: http://dx.doi.org/10.5772/intechopen.110044*

such as paying attention, staying organized, or completing activities of daily living. They may have symptoms of both hypersensitivity and hyposensitivity.

Stimuli, or lack thereof, is of critical importance for supporting accessibility for these three populations. The heightened input from those with hypersensitivity requires sensitivity to and avoidance of highly stimulating areas of a museum, whereas those with hyposensitivity seek out tactile, auditory and other stimuli, and, finally, general sensory overload may have symptoms of both [57, 58]. The threshold for the number and amount of stimuli the nervous system can process is different for diverse populations and requires the ability to modulate said stimuli before, during, and after museum visits [59]. Given that the processing of stimuli and information is environmental, there has also been a call to reframe the concept of disability as relating to the environment instead of something inherently within the person experiencing them [60].

In supporting such visitors, sensory maps can be made available in multiple formats, such as printed, digital, or an app, and can be provided to visitors upon arrival or made available online in advance. The removal of future unknowns of a new location, visitors can pre-plan excursions and reduce anxiety. The resource can reduce stress for both the neurodiverse individual and their entire family potentially visiting with them. Such maps can be downloaded onto mobile devices, such as smartphones or tablets, or printed before a planned visit. Examples include the Sensory Friendly Map of the Metropolitan Museum of Art (https://www.metmuseum.org/-/media/ files/events/programs/progs-for-visitors-with-disabilities/sensory-friendly-map. pdf). Potential crowded areas are highlighted in sensory maps, as well as identifying more high-traffic times of day and instances where there may be dramatic shifts in lighting. International institutions, such as the British Museum, have gone even further and included information on areas that might be potentially offensive to those with olfactory sensitivities, uniforms commonly worn by staff, identifying entrances and exits, and special events that might balloon attendance (https://www. britishmuseum.org/sites/default/files/2019-11/British-Museum-Sensory-Map-PDF-Download.pdf).

#### **5. Social stories and museums**

Like sensory maps, and often mistaken for them, social stories provide a social narrative about programming in a museum or cultural heritage institution. The term "social stories," a term trademarked by Carol Gray in 1991, are short, simple descriptions of a specific situation or activity, such as visiting a museum. These stories can be helpful for visitors with autism or other developmental disorders by providing a clear and predictable explanation of what to expect during a museum visit [61]. The goal is to not change the behavior of visitors, but to improve the individuals understanding of the events and the expectations. Originally devised with no visual stimuli as the subject or object of the resource, the inclusion of visual imagery was later revised based on an increased understanding and available research for those using the tool in 2006 [62]. Examples include Social Stories: Spectrum Project (2017) at the San Diego Natural History Museum (https://www.sdnhm.org/visit/accessibility/social-stories/) and the Social Story at the Brandywine Museum of Art (https://www.brandywine. org/museum/accessibility/social-story). Unlike sensory maps that provide sensory information about the environment, the narrative approach of social stories includes

all information about the environment, the adjustments that have been considered for the comfort of the visitor and a breakdown of each individual step that might limit access intellectually or socially for a visitor [63].

These social stories, otherwise known as social narratives, describe a situation that may be challenging for those with ASD where social behavior and cues are clearly identified. These narratives are used to inform those with socialization challenges of potentially difficult situations [64]. Museums and educational institutions like the Eugene Science Center Chicago Children's Museum, Boston Children's Museum and The Metropolitan Museum of Art in New York have social narratives embedded on their websites that can be downloaded and printed as PDFs (e.g. https://bostonchildrensmuseum.org/visit/accessibility/; https://www.twentyonesenses.org/places/ united-states/il/chicago-1/chicago-childrens-museum/). These examples exhibit a storytelling strategy using therapeutic and educational mediations for the population in question. The brief narrative is presented using visual aids and text to reassure those of what to expect in a given social event, exchange, or activity. The resources are used as materials to learn how to promote the development of autonomy and learn social skills, including routines, understanding rules, and expectations.

Unfortunately, these social stories are generally found in the form of print media, which are outdated and do not fulfill their potential of full accessibility and inclusion that other digital and virtual interventions and experiences now afford [64, 65]. Accessible interventions need to align with daily use cases of individuals outside of the museum context. As such, new AR and VR options are being created to meet users where they are. For instance, Wearable Immersive Virtual Reality (WIVR) technology has been leveraged to produce an innovative social story aptly named the Wearable Immersive Social Story (WISS) [66]. By integrating immersive social stories using AR and VR one is able to take advantage of 360° videos with embedded elements that are interactive. Visual cues that include audio, images, and geometric shapes make the experience more engaging and entertaining in order to gain a greater understanding of the social expectations of visiting a specific institution. While digital media expands in museums to embed more multimedia experiences with images, video, and audio, VR can now be used more widely to assist those with ASD. However, these examples of immersive and wearable social stories remain confined to therapeutic and educational interventions for those with autism and include common use cases such as teaching students how to safely cross a road [67].

#### **6. Sensory maps, social stories and adaptive extended reality**

The future of accessibility will combine the resources and technology listed above. Sensory maps represent an educational tool to prepare those with ASD to engage with new situations and/or in new environments. The multisensory approach used to create sensory maps ensures that whether over- or under-stimulated, visitors will be prepared for the visit and to benefit from the educational materials provided. The currently exist in the form of handouts provided by an institution that takes into consideration how people perceive interacting with a space. Social stories, on the other hand, use a narrative approach to both deliver content and to address situational awareness for those with ASD. Taken together, the proposed combined "storymap" can now be transformed into a digital expression and experience. Digital storytelling strategies can be used and experienced with various XR wearable devices. This immersive storymap can provide support prior to the visit, onsite, and engage diverse

#### *Perspective Chapter: Museums and the Metaverse – Emerging Technologies to Promote Inclusivity… DOI: http://dx.doi.org/10.5772/intechopen.110044*

audiences with personalized, story-driven narratives of museum collections, while supporting adaptive, multisensory experiences.

Using the benefits of both sensory maps and social stories with VR, especially, enables those with sensory processing disorders, and other cognitive difficulties, to feel more comfortable in the museum space. Social stories can capitalize on existing avatar creators that are cross-platform and interoperable, such as Ready Player Me (https://readyplayer.me/) for a more immersive, enjoyable, and personalized experience. The use of avatars selected and created by a neurodiverse individual improve inclusivity through their use in virtual environments to better understand social contacts that may/ will occur onsite, familiarizing them with the facilities prior to visiting, and the rewarding recognition of accomplishment by completing a visit. As noted, the benefits of using head-mounted displays (HMD) and VR include improved focus and attention span as these remove the distractions of the outside world, which can be overwhelming for those with stimuli sensitivity [68].

There are several use cases already available that demonstrate the efficacy of integrating emerging immersive technologies into cultural heritage institutions. One such example is A Dip in the Blue (2022), an application (app) developed for museum visitors with ASD to provide a clear visual agenda along with additional accessibility resources [69]. The app uses a social story that is inspired by the experience of an archeologist discovering a tomb in Naples. After the experience, a survey gathers data on the emotional reaction and sensory feedback experienced as part of the tour. Additional, services and functional features within the app include a dashboard management panel, a live virtual tour scheduling system, a media library dedicated to storing documents, textual and multimedia contact like audio and video tours. There is additional socializing functionality built in with the ability to broadcast live streams of virtual tours.

Another example that uses interactive technologies, including mixed-reality, provides an interactive cultural visit of the church of Roncesvalles at the beginning of the popular tourist destination of Camino de Santiago [70]. The inclusion of avatars provides the ability for natural social interactions to further enhance the visit. The church is experienced onsite through the use of a three-dimensional projection mapping, while an agent generating conversation acts as a storyteller for visitors. The avatar of the storyteller uses the techniques of storytelling while exhibiting emotional reactions during their narration of local stories of the objects in the room. Therefore, the storytelling experience is supported by the engagement with actual objects in the environment and the emotional conversation avatar thus bridging the real and virtual. But what makes this experience unique is the considerations of mapping the senses.

Moving beyond merely the visual, future cultural experiences will include multisensory interactions. The importance of all of the senses for a truly immersive experience has been well-documented [71, 72]. As such, a 2016 report of the Workshop in Cologne sought to understand how to map the senses and listed three steps [73]. The first step includes a researcher mapping a specific urban space to be recreated. The second includes the subjective experiences of visitors by capturing the emotions and feelings of the citizens connected to the location. And, finally, the third is the connection of the researcher to the local community. These steps shed light on the soundscape and smellscape that compliment a visual imagery of a place. Smells often provide a memory which helps identify a place and the effects of climate should be considered. For instance, cold weather reduces the expansion of smells whereas warm weather expands them [74]. Creating an adaptive experience that can not only

change based upon the environment represented, but also react to the physical and emotional states of visitors will become ever more important in crafting compelling virtual experiences.

Adaptive content and interactive storytelling will revolutionize museum experiences. In order to make such experiences possible, the collection of biometrics of visitors will be required. Furthermore, adaptive content that adjusts to the needs of diverse audiences through new paradigms of interaction will provide accessible digital content to a wide range of visitors [75]. Researchers will need to use the following strategies to collect data to personalize avatars to craft custom-made experiences associated with museum visits.


Examples of this in practice can already be seen in research projects like CHESS (Cultural Heritage Experiences through Socio-personal interactions and Storytelling). CHESS (https://chess.diginext.fr/) applies constant adaptable and personalized content to enhance the experience of the Acropolis Museum, Athens [76]. The onsite engagement with objects in the museum personalizes interactive stories for each visitor. The project was created to further enhance a visit by personalizing an engaging and interactive storytelling experience by adapting information about

#### *Perspective Chapter: Museums and the Metaverse – Emerging Technologies to Promote Inclusivity… DOI: http://dx.doi.org/10.5772/intechopen.110044*

cultural artifacts for each individual visitor. Thus, the latest generation of state-ofthe-art museum programming seeks to create cultural adventures that are driven by stories and narratives. Such experiences involve users in many roles of a scenario through multimodal interfaces and extends over time and space. This user-centered approach personalizes the educational experience with real-time adaptive capabilities using localization systems. The collapsing of space and time made possible through virtual connectivity means that one will also be able to engage in such experiences at home through various devices.

#### **7. Conclusion**

Museums will continue to adopt the latest emerging technology to engage with the all of their constituencies. As the goal of museums is to ensure accessibility for all, the needs of neurodiverse populations will continue to drive innovation and technological adoption. Digital storytelling strategies can now be used and experienced with various immersive and wearable devices. New immersive storymaps can provide support prior to the visit, onsite, and engage diverse audiences with personalized, storydriven narratives of museum collections, while supporting adaptive, multisensory experiences. The integration of narrative and storytelling in virtual environments encompasses both the needs to understand a given space physically and intellectually. Furthermore, these new digital tools are effective in visualizing and presenting historical and cultural heritage, and support staffing restrictions. The presentation through digital storytelling continues to evolve in use and methodology and is inherently multimedia. Through the medium storytelling, digitized objects and virtual reconstructions of environments allow visitors to engage with the culture and history of a location or subject like never before. The pedagogical device generates a narrative through the experience of interactive events and affords visitors the ability to direct their own story and visit, creating meaning and context [77]. Systems will continue to evolve that create emotional connections with visitors, allowing for the preferences to be known and storytelling activities to adapt and evolve [70]. For example, detecting children in a room, a system could modify the age level of content and appearance of the avatar presenting said content; mini games may encourage interaction with objects in a given exhibition or gallery, while an avatar employs storytelling to invest the visitor in their history or significance. Finally, as the multiverse of metaverses evolves, portals will be created that link museum collections of like content that can be easily traversed for an even more expanded and immersive experience with art and culture.

#### **Conflict of interest**

The authors declare no conflict of interest.

*Application of Modern Trends in Museums*

### **Author details**

James Hutson\* and Piper Hutson Lindenwood University, Saint Charles, USA

\*Address all correspondence to: jhutson@lindenwood.edu

© 2023 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

*DOI: http://dx.doi.org/10.5772/intechopen.110044 Perspective Chapter: Museums and the Metaverse – Emerging Technologies to Promote Inclusivity…*

#### **References**

[1] Associated Press. Coronavirus Spreads to over 60 Countries. New Zealand Herald: France Closes the Louvre; 2020. Available from: https://www. nzherald.co.nz/world/news/article. cfm?c\_id=2&objectid=12312989

[2] Daher N. Smithsonian museums to close amid coronavirus outbreak. SmithsonianMag.com. 2020. Available from: https://www.smithsonianmag. com/smithsonian-institution/ smithsonian-museums–close-amidcoronavirus-outbreak-180974399/

[3] Cobley J, Gaimster D, So S, Gorbey K, Arnold K, Poulot D, et al. Museums in the pandemic: A survey of responses on the current crisis. Museum Worlds. 2020;**8**(1):111-134

[4] Krantz A, Downey S. The significant loss of museum educators in 2020: A data story. Journal of Museum Education. 2021;**46**(4):417-429

[5] Longhi-Heredia SA, Marcotte P. The attractiveness of Quebec's heritage sites in the era of Covid-19. Visual review. International Visual Culture Review/ Revista Internacional de Cultura Visual. 2021;**8**(2):151-165

[6] Wildgans J. IP issues relating to cultural heritage platforms and new business models. In: Research Handbook on Intellectual Property and Cultural Heritage. Northampton, Massachusetts: Edward Elgar Publishing; 2022. pp. 480-501

[7] Raja M, Priya GG. Conceptual origins, technological advancements, and impacts of using virtual reality technology in education. Webology. 2021;**18**(2):116-134

[8] Brennan M, Christiansen L. Virtual materiality: A virtual reality framework for the analysis and visualization of cultural heritage 3D models. Digital Heritage. 2018:1-3

[9] Harrington MC, Jones C, Peters C. Virtual nature as a digital twin botanically correct 3D AR and VR optimized lowpolygon and photogrammetry highpolygon plant models: A short overview of construction methods. In: ACM SIGGRAPH 2022 Educator's Forum. New York, NY: Association for Computing Machinery; 2022. pp. 1-2

[10] Franczuk J, Boguszewska K, Parinello S, Dell'Amico A, Galasso F, Gleń P. Direct use of point clouds in real-time interaction with the cultural heritage in pandemic and post-pandemic tourism on the case of Kłodzko fortress. Digital applications in archaeology and cultural. Heritage. 2022;**24**:e00217

[11] Hutson P, Hutson J. Neurodivergence and inclusivity in cultural institutions: A review of theories and best practices. Creative Education. 2022;**13**(9):3069-3080

[12] Sokoloff RL, Schattschneider E. The Fight to Connect: Making Museums Accessible to Neurodiverse Communities (Doctoral dissertation, Brandeis University). 2022

[13] American Alliance of Museums. Audiences and inclusion: A primer for cultivating more inclusive attitudes among the public. Wilkening Consulting. 2020:1-57

[14] Andermann J, Arnold-de SS. Museums and the educational turn: History, memory, inclusivity. Journal of Educational Media, Memory, and Society. 2012;**4**(2):1-7

[15] Pohawpatchoko C, Colwell C, Powell J, Lassos J. Developing a native digital voice: Technology and inclusivity in museums. Museum Anthropology. 2017;**40**(1):52-64

[16] Ariese C, Wróblewska M. Practicing Decoloniality in Museums: A Guide with Global Examples. Amsterdam, Holland: Amsterdam University Press; 2022

[17] Ott DL, Russo E, Moeller M. Neurodiversity, equity, and inclusion in MNCs. AIB Insights. 2022;**22**(3). Retrieved from: https://insights.aib. world/article/34627-neurodiversityequity-and-inclusion-in-mncs

[18] Centers for Disease Control and Prevention (CDC). What is Autism Spectrum Disorder? (ASD). 2022. Available from: https://www.cdc.gov/ ncbddd/autism/facts.html

[19] Nisticò V, Faggioli R, Tedesco R, Giordano B, Priori A, Gambini O, et al. Brief report: Sensory sensitivity is associated with disturbed eating in adults with autism Spectrum disorders without intellectual disabilities. Journal of Autism and Developmental Disorders. 2022:1-6. DOI: 10.1007/ s10803-022-05439-9

[20] Hooper-Greenhill E. Measuring learning outcomes in museums, archives and libraries: The learning impact research project (LIRP). International Journal of Heritage Studies. 2004;**10**(2):151-174

[21] Schwartzman R, Knowles C. Expanding accessibility: Sensory sensitive programming for museums. Curator: The Museum Journal. 2022;**65**(1):95-116

[22] Barclay DM. Traveling Different: Vacation Strategies for Parents of the Anxious, the Inflexible, and the Neurodiverse. Washington, DC: Rowman & Littlefield; 2022

[23] Brule E, Bailly G, Brock A, Valentin F, Denis G, Jouffrais C. MapSense: Multi-sensory interactive maps for children living with visual impairments. In: Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems. New Orleans, LA. 2016. pp. 445-457

[24] Cho H, Jolley A. Museum education for children with disabilities: Development of the nature senses traveling trunk. Journal of Museum Education. 2016;**41**(3):220-229

[25] Fletcher TS, Blake AB, Shelffo KE. Can sensory gallery guides for children with sensory processing challenges improve their museum experience? Journal of Museum Education. 2018;**43**(1):66-77

[26] Kubasova TS. State Darwin Museum support programs for children with ASD and developmental disorders. Autism and Developmental Disorders. 2022;**20**(2):13-19

[27] Silverman F, Bartley B, Cohn E, Kanics IM, Walsh L. Occupational therapy partnerships with museums: Creating inclusive environments that promote participation and belonging. International Journal of the Inclusive Museum. 2012;**4**(4):15-30

[28] Coffey CS. Creating Inclusive Experiences in Children's Museums for Children with Autism Spectrum Disorder (Doctoral dissertation, The University of Wisconsin-Milwaukee). 2018

[29] Dal Falco F, Vassos S. Museum experience design: A modern storytelling methodology. The Design Journal. 2017;**20**(sup1):S3975-S3983

[30] Madge C. Autism in museums: Welcoming families and young people. Kids in Museums. 2021. Available

*DOI: http://dx.doi.org/10.5772/intechopen.110044 Perspective Chapter: Museums and the Metaverse – Emerging Technologies to Promote Inclusivity…*

from: https://www.museumnext.com/ article/how-can-museums-increaseaccessibility-for-neurodiverseaudiences/?adlt=strict

[31] Giri A, Aylott J, Giri P, Ferguson-Wormley S, Evans J. Lived experience and the social model of disability: Conflicted and interdependent ambitions for employment of people with a learning disability and their family carers. British Journal of Learning Disabilities. 2022;**50**(1):98-106

[32] Mammarella IC, Cardillo R, Semrud-Clikeman M. Do comorbid symptoms discriminate between autism spectrum disorder, ADHD and nonverbal learning disability? Research in Developmental Disabilities. 2022;**126**:104242

[33] Hawkey R. Learning with Digital Technologies in Museums, Science Centres and Galleries. Bristol, UK: Nesta Futurelab; 2004

[34] Nicolaou C. The secret power of digital storytelling methodology: Technology-enhanced learning utilizing audiovisual educational content. In: Enhancing Education through Multidisciplinary Film Teaching Methodologies. Hershey, Pennsylvania: IGI Global; 2023. pp. 235-246

[35] Bratitsis T, Ziannas P. From early childhood to special education: Interactive digital storytelling as a coaching approach for fostering social empathy. Procedia Computer Science. 2015;**67**:231-240

[36] Nicolaou C, Kalliris G. Audiovisual Media Communications in Adult Education: The case of Cyprus and Greece of adults as adult learners. European Journal of Investigation in Health, Psychology and Education. 2020;**10**(4):967-994

[37] Matsiola M, Dimoulas C, Kalliris G, Veglis AA. Augmenting user interaction experience through embedded multimodal media agents in social networks. In: Information Retrieval and Management: Concepts, Methodologies, Tools, and Applications. Hershey, Pennsylvania: IGI Global; 2018. pp. 1972-1993

[38] Sarridis I, Nicolaou C. Social media:(correct) professional use. In: Proceedings of the 2nd Student Conference of the Department of Applied Informatics. Vol. 2. Thessaloniki, Greece: University of Macedonia on Modern Entrepreneurship & Informatics Technologies; 2015

[39] Pilgrim J, Pilgrim JM. Immersive storytelling: Virtual reality as a crossdisciplinary digital storytelling tool. In: Connecting Disciplinary Literacy and Digital Storytelling in K-12 Education. Hershey, Pennsylvania: IGI Global; 2021. pp. 192-215

[40] Matei SA, Hunter L. Data storytelling is not storytelling with data: A framework for storytelling in science communication and data journalism. The Information Society. 2021;**37**(5):312-322

[41] Liu M, Williams D, Pedersen S. Alien rescue: A problem-based hypermedia learning environment for middle school science. Journal of Educational Technology Systems. 2002;**30**(3):255-270

[42] Zhong Z, Coates H, Jinghuan S, editors. Innovations in Asian Higher Education. Oxfordshire, England, UK: Routledge; 2019

[43] Houston M. Facilitating digital transformation for museum education in response to COVID-19. New England Museum Association. 2021;**12**:2021

[44] Fletcher TS, Wiskera ES, Wilbur LH, Garcia NM. The sensory totes programme: Sensory-friendly autism program innovations designed to meet COVID-19 challenges. World Federation of Occupational Therapists Bulletin. 2022;**78**(1):44-52

[45] Podsukhina E, Smith MK, Pinke-Sziva I. A critical evaluation of mobile guided tour apps: Motivators and inhibitors for tour guides and customers. Tourism and Hospitality Research. 2022;**22**(4):14673584211055819

[46] Manik HF, Christanti R, Setiawan W. Knowledge management and communitybased enterprise: An initiative to preserve the shadow puppet traditional knowledge in Yogyakarta, Indonesia. VINE Journal of Information and Knowledge Management Systems. Emerald Publishing Limited. 2022. DOI: 10.1108/VJIKMS-11-2021-0265 [Vol. and No. ahead-of-print]

[47] Sabiescu A, Charatzopoulou K. Shaping a culture of lifelong learning for young audiences: A case study on the samsung digital discovery centre at the British museum. RICHES EU Project Deliverable. 04 Jan 2015;**5**(1):1-33

[48] Dohoney R. The Chicago sound show at the smart museum of art, the University of Chicago. Sound Studies. 2020;**6**(2):271-274

[49] Korzun DG, Marchenkov SA, Vdovenko AS, Petrina OB. A semantic approach to designing information services for smart museums. International Journal of Embedded and Real-Time Communication Systems (IJERTCS). 2016;**7**(2):15-34

[50] Eardley AF, Mineiro C, Neves J, Ride P. Redefining access: Embracing multimodality, memorability and shared experience in museums. Curator: The Museum Journal. 2016;**59**(3):263-286

[51] Bruner J, Bruner JS. Acts of Meaning: Four Lectures on Mind and Culture.

Cambridge, MA: Harvard University Press; 1990

[52] Pujol L, Roussou M, Poulou S, Balet O, Vayanou M, Ioannidis Y. Personalizing interactive digital storytelling in archaeological museums: The CHESS project. In: 40th Annual Conference of Computer Applications and Quantitative Methods in Archaeology. Amsterdam, Holland: Amsterdam University Press; 2012. pp. 93-100

[53] Gray CA. Social stories and comic strip conversations with students with Asperger syndrome and highfunctioning autism. In: Asperger Syndrome or High-Functioning Autism? Boston, MA: Springer; 1998. pp. 167-198

[54] Mitchell AW, Moore EM, Roberts EJ, Hachtel KW, Brown MS. Sensory processing disorder in children ages birth–3 years born prematurely: A systematic review. The American Journal of Occupational Therapy. 2015;**69**(1):6901220030p1-1

[55] Kinnealey M, Koenig KP, Smith S. Relationships between sensory modulation and social supports and health-related quality of life. The American Journal of Occupational Therapy. 2011;**65**(3):320-327

[56] Ben-Sasson A, Hen L, Fluss R, Cermak SA, Engel-Yeger B, Gal E. A meta-analysis of sensory modulation symptoms in individuals with autism spectrum disorders. Journal of Autism and Developmental Disorders. 2009;**39**(1):1-1

[57] Crane L, Goddard L, Pring L. Sensory processing in adults with autism spectrum disorders. Autism. 2009;**13**(3):215-228

[58] Neufeld J, Hederos Eriksson L, Hammarsten R, Lundin Remnélius K, *DOI: http://dx.doi.org/10.5772/intechopen.110044 Perspective Chapter: Museums and the Metaverse – Emerging Technologies to Promote Inclusivity…*

Tillmann J, Isaksson J, et al. The impact of atypical sensory processing on adaptive functioning within and beyond autism: The role of familial factors. Autism. 2021;**25**(8):2341-2355

[59] Murray M, Baker PH, Murray-Slutsky C, Paris B. Strategies for supporting the sensory-based learner. Preventing School Failure: Alternative Education for Children and Youth. 2009;**53**(4):245-252

[60] Rappolt-Schlichtmann G, Daley SG. Providing access to engagement in learning: The potential of universal Design for Learning in museum design. Curator: The Museum Journal. 2013;**56**(3):307-321

[61] Walker VL, Smith CG. Training paraprofessionals to support students with disabilities: A literature review. Exceptionality. 2015;**23**(3):170-191

[62] Ricciardelli D. A Social Skills Program Evaluation: Will Social Stories Combine with a Traditional Social Skills Curriculum Increase pro-Social Behavior in Autistic Children? Teaneck, NJ: Fairleigh Dickinson University; 2006

[63] Garzotto F, Matarazzo V, Messina N, Gelsomini M, Riva C. Improving museum accessibility through storytelling in wearable immersive virtual reality. In: 2018 3rd Digital Heritage International Congress (DigitalHERITAGE) Held Jointly with 2018 24th International Conference on Virtual Systems & Multimedia (VSMM 2018). New York City, NY: IEEE; 2018. pp. 1-8

[64] Watermeyer R. A conceptualisation of the post-museum as pedagogical space. Journal of Science Communication. 2012;**11**(1):A02

[65] Othman MK, Nogoibaeva A, Leong LS, Barawi MH. Usability

evaluation of a virtual reality smartphone app for a living museum. Universal Access in the Information Society. 2022;**21**(4):995-1012

[66] Garzotto F, Gelsomini M, Matarazzo V, Messina N, Occhiuto D. Designing wearable immersive "social stories" for persons with neurodevelopmental disorder. In: International Conference on Universal Access in Human-Computer Interaction. Cham: Springer; 2018. pp. 517-529

[67] Josman N, Ben-Chaim HM, Friedrich S, Weiss PL. Effectiveness of virtual reality for teaching streetcrossing skills to children and adolescents with autism. International Journal on Disability and Human Development. 2008;**7**(1):49-56

[68] Howard MC, Lee J. Pretraining interventions to counteract seductive details in virtual reality training programs. Human Resource Development Quarterly. 2020;**31**(1):13-29

[69] Varriale L, Cuel R, Ravarini A, Briganti P, Minucci G. Smart and inclusive museums for visitors with autism: The app case "a dip in the blue". In: Sustainable Digital Transformation. New York City, New York: Springer; 2023. pp. 133-152, Cham

[70] Olaz X, Garcia R, Ortiz A, Marichal S, Villadangos J, Ardaiz O, et al. An interdisciplinary Design of an Interactive Cultural Heritage Visit for In-situ, mixed reality and affective experiences. Multimodal Technologies and Interaction. 2022;**6**(7):59

[71] Gallace A, Ngo MK, Sulaitis J, Spence C. Multisensory presence in virtual reality: Possibilities & limitations. In: Multiple Sensorial Media Advances and Applications: New Developments in MulSeMedia. Hershey, Pennsylvania: IGI Global; 2012. pp. 1-38

[72] Melo M, Gonçalves G, Monteiro P, Coelho H, Vasconcelos-Raposo J, Bessa M. Do multisensory stimuli benefit the virtual reality experience? A systematic review. IEEE Transactions on Visualization and Computer Graphics. 01 Feb 2022;**28**(2):1428-1442

[73] El-Sayyad N. Role of sensory maps in cultural planning to shape the future of deteriorated heritage sites. In: 8th International Conference "ARCHCAIRO8:" Building the Future "Now"–Rights to Better Living. Architecture and Contexts; 2019. pp. 8-10

[74] Quercia D, Schifanella R, Aiello LM, McLean K. Smelly maps: The digital life of urban smellscapes. In: Proceedings of the International AAAI Conference on Web and Social Media. Vol. 9, No. 1. Oxford, United Kingdom. 2015. pp. 327-336

[75] Pietroni E, Adami A. Interacting with virtual reconstructions in museums: The Etruscanning project. Journal on Computing and Cultural Heritage (JOCCH). 2014;**7**(2):1-29

[76] Roussou M, Pujol L, Balet O, Poulou S. Personalizing interactive digital storytelling in archaeological museums: The CHESS project. In: Computer Applications and Quantitative Methods in Archaeology (CAA) 2012. Southampton, UK. 26-30 March 2012. p. 2011

[77] Baradaran RF. A model for sociocultural interactions in museums. Museum Management and Curatorship. 2014;**29**(2):174-187

Section 2
