The document discusses augmented reality, defining it as relating virtual environments to real environments to improve people's interaction with the real world by providing information not directly perceptible to the senses. It notes that for augmented reality to work properly, the real camera perspective must be precisely mapped to the virtual environment. The document explores using augmented reality to provide "contents" to museums by giving voice to cultural heritage exhibits through interactive links and references that highlight context and relationships. However, it notes that technology can be fragile and aims to inspire wonder over providing strict information.

1. Augmented Reality
What and How

2. What is it?
“RA can be regarded in terms of a continuum relating purely virtual environments to purely real environments” (Industrial Engineering Department of
Toronto University, 1994)

3. What is it?
“RA can be regarded in terms of a continuum relating purely virtual environments to purely real environments” (Industrial Engineering Department of
Toronto University, 1994)

4. What is it?
"...to improve people’s interaction with the real world by providing them with information that cannot be perceived directly by their senses"
(Pujol 2004)

5. What is it?
"...to improve people’s interaction with the real world by providing them with information that cannot be perceived directly by their senses"
(Pujol 2004)

6. What is it?
"...to improve people’s interaction with the real world by providing them with information that cannot be perceived directly by their senses"
(Pujol 2004)

7. What do you put in it?

8. What do you put in it?

9. What do you put in it?
"...the real camera should be
mapped to the virtual one in such a
way that that the perspectives of
both environments precisely match"

10. What do you put in it?
"...the real camera should be
mapped to the virtual one in such a
way that that the perspectives of
both environments precisely match"

11. What do you put in it?
"...the real camera should be
mapped to the virtual one in such a
way that that the perspectives of
both environments precisely match"
You have to keep a good
quality in the display
images

12. What do you put in it?
"...the real camera should be
mapped to the virtual one in such a
way that that the perspectives of
both environments precisely match"

13. What do you put in it?
"...the real camera should be
mapped to the virtual one in such a
way that that the perspectives of
both environments precisely match"

14. What do you put in it?
"...the real camera should be
mapped to the virtual one in such a
way that that the perspectives of
both environments precisely match"
Perfect sovrapponibility

15. What do you put in it?
"...the real camera should be
mapped to the virtual one in such a
way that that the perspectives of
both environments precisely match"

16. What contents?

17. What contents?
Cultural heritage: it’s not a Circus!

18. What contents?
Cultural heritage: it’s not a Circus!
It does not provide entertainment, but history,
science, information...

19. What contents?
AR can provides a strong new language to provide “contents”
to the peoples

20. What contents?
AR can provides a strong new language to provide “contents”
to people
Reticent “cultural heritage”
Does not speak to people AR: gives “voice” to the
Museum

21. What contents?
AR can provides a strong new language to provide “contents”
to people
Reticent “cultural heritage”
Does not speak to people AR: gives “voice” to the
Museum

22. What contents?
AR can provides a strong new language to provide “contents”
to people
(Non)Reticent “cultural
heritage”
AR: gives “voice” to the
Museum

23. What kind of voice?

24. What kind of voice?
...through constant inter-textual and multimedia links,
allows the user to develop his own path freely...

25. What kind of voice?
...ability to highlight, through links and references,
context and relationships...

26. What kind of voice?
...ability to highlight, through links and references,
context and relationships...

27. What kind of voice?
...ability to highlight, through links and references,
context and relationships...
AR contents

28. What kind of voice?
...ability to highlight, through links and references,
context and relationships...
AR contents

29. What kind of voice?
...ability to highlight, through links and references,
context and relationships...
AR contents
“hypertextual link”

30. What kind of voice?
… three levels of comunication:

31. What kind of voice?
… three levels of comunication:
1)customization of the “museum”
?

32. What kind of voice?
… three levels of comunication:
1)customization of the “museum”
!

33. What kind of voice?
… three levels of comunication:
1)customization of the “museum”
2)multilevel

34. What kind of voice?
… three levels of comunication:
1)customization of the “museum”
2)multilevel
ecologic notions
ethnographic
notions
historic notions

35. What kind of voice?
… three levels of comunication:
1)customization of the “museum”
2)multilevel
3)“you can touch with your five senses”
elephant bellow
“touch” elephant
skin
see muscles and
bones

36. Troubles?
Technology not so much clear...
?
?
?

37. Troubles?
Fragile content...
… aim to inspire wonder rather than
information...
?!

38. “Customer care…”
How you supply contents
wireless is
the way

39. Customer care...
Thoughtful interactive design...

40. Customer care...
Thoughtful interactive design… integrated with content design
and accessibility/sensorial design...

41. Customer care...
AR is a working system? Can you effetively learn with AR?
A University of Florida experiment estabilished
that there’s not a significative improvement in the
keeping of contents between “traditional
methods” and AR systems… but...

42. Customer care...
AR is a working system? Can you effetively learn with AR?
… a difference lies in the quickness to learn… AR
allows to learn faster… why?
AR allows a better
interaction with
the content to
learn

43. Theory into pratice
ARCHEOGUIDE
Zeus Temple at Olimpia, Greece

44. Theory into pratice
ARCHEOGUIDE
Zeus Temple at Olimpia, Greece
System infrastructure
- position tracking via GPS
- based on HMD (head mounted display)
- real time rendering

45. Theory into pratice
But a HMD is too much unwieldy, so...
- UMPC (ultra mobile pc)
ITACITUS

46. Theory into pratice
But a HMD is too much unwieldy, so...
- UMPC (ultra mobile pc)
- QrCode
Torre di
Pordenone

47. Theory into pratice
But a HMD is too much unwieldy, so...
- UMPC (ultra mobile pc)
- QrCode
- Beacon

48. Theory into pratice
But a HMD is too much unwieldy, so...
- UMPC (ultra mobile pc)
- QrCode
- Beacon
- Blippar

49. Theory into pratice
But a HMD is too much unwieldy, so...
- UMPC (ultra mobile pc)
- QrCode
- Beacon
- Blippar
Your device gets the
content

50. Finnaly...
We can see a
video!