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Paolo De Gasperis, Head of Digital and EdTech at Explora Children's Museum of Rome, shares how his museum brought a card game to life by layering an Augmented Reality experience on to "Missione Me" - the museum's recent exhibition exploring the human body.

For Paolo De Gasperis and the team at Explora, grabbing a child's attention lies at the heart of everything they do. So, as they investigated new ways to entertain, educate and delight young museum visitors, they asked themselves the question: How can we develop engaging educational content using digital?

Since 2020, Explora has worked hard to harness digital tools in the creation of immersive and exciting learning opportunities. The result of these efforts was a test project called "Missione Me", an initiative dedicated to the discovery of the human body. Funded through a national grant, the project combines an Augmented Reality app with a card game and an online training course to support the teaching of human anatomy in classroom settings.

The mobile app is a free of charge platform that can be accessed on both iOS and Android phones - giving smartphone users the ability to access a whole new world of educational content.

Once downloaded and launched, the app can be pointed at a series of cards, which depict a part of the human body, including the heart, lungs and brain. When framed by the camera within the app, each card creates an AR visualisation of the organs supported by in-depth audio content.

The game cards can be purchased online or offered as a free downloadable and printable resource.

As Paolo explains, Missione Me's use of digital technology is entirely focused on the creation of an enriching education experience - made more engaging and dynamic with the help of a mobile device: "Like any good project, Missione Me came about because of an issue. We wanted to better educate and support students and teachers in the subject of human biology.

"But delivering a technological solution into a classroom presents a challenge. We knew that introducing mobile devices into a learning environment had its risks. We all know that smartphones and tablets can be a distraction and even a 'weapon' against the learning experience if used badly.

"So, our approach was to pair devices with physical items; forcing young learners to interact with a specific item - in this case playing cards that could be used as part of a board game. Each card from the game featured a picture of a part of the human anatomy - a picture that came to AR life when scanned using the app.

"This, we felt, resulted in a solution for engaging kids in an ethical way."

Paolo explains that this mechanism is not only important for keeping children focused but also empowering the teachers to remain in their role as the conductors of activities in the classroom. He says, "The teacher is the director of content; the organiser of learning. We wanted to ensure that our AR tool elevated this aspect of teaching rather than taking away from it. In our project, the smartphone is simply a technological lens to aid understanding - no more, no less."

In particular, embracing audio commentary for the 3D animation rather than text was an important decision for Paolo and his team - one that was chosen to avoid creating further distraction or tying users to the screen when learning.

For Explora, this pilot project is a test that will inform future work in the field of AR - with the aim of helping students, teachers and parents in delivering educational material on other subjects. Having enjoyed a positive reception with Missione Me, Paolo explains that they are now looking at how AR may work across subjects such as astronomy and chemistry:

"What we have done with Missione Me is demonstrate that we have a good model for learning and engagement. We've had fantastic feedback from students and teachers - particularly because it can work offline and doesn't rely on powerful, stable internet connections at all times.

Informing future development

Classroom feedback has been essential to understanding the impact of Missione Me for Paolo and his colleagues. Even more helpful was the feedback gained from a cohort of 100 summer school attendees who got the opportunity to utilise the app on a daily basis over the course of their holiday camp. Paolo says,

"Leaving the kids to play with the cards in their recreational time, and use the board game socially, showed us how they chose to interact with both the physical items and the app when left on their own.

"One important thing I learned from observing their play - and I think this is relevant to any museums or educators trying to teach children - was how powerful learning as a group can be. If you have a whole group concentrated on content, it stays in their memory more effectively as part of that social activity."

This social element, driven by the combination of physical cards and device-based learning, is perhaps the greatest success story of the project - demonstrating that AR experiences don't have to be isolating or detract from communal experiences. Instead, they can be used to form more inclusive and collaborative learning experiences.

This, of course, is often a concern for museums when introducing any form of technological solution that involves a device.

Asked whether he was surprised by any of the feedback received, Paolo says, "I was certainly surprised by how widely the AR experience was enjoyed by children of different ages. The sweet-spot was perhaps children of 7-8 who are comfortable with smartphones and can understand the content. But there was also appeal to older children and younger kids, too.

"But no matter what the age, I think it's crucial to remember that the content and the teacher remain the most important thing in learning experiences. Technology is not the solution in our experience, it is merely a tool."

AR and the future of ed tech

And what about the longer-term future for this kind of immersive experience within museums? Paolo says, "I think we need to begin to look beyond the museum as a building. We already have Software as a Service, I think that the adoption of technology will help to facilitate the Museum as a Service over the coming years.

"My hope is that open source software plays a role in this, so that museums can share ideas, content and software solutions in a more collaborative way. It's not in a museum's interest to hold on to copyrighted software and keep their learning technologies restricted.

"For me, an open source approach for museums should be mandatory."

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MuseumNext offer online learning for museum professionals striving for engaging, relevant and flexible professional growth content. Learn more about our virtual museum conferences here.

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Bringing Augmented Reality to card games at Explora Children's Museum of Rome

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Paolo De Gasperis, Head of Digital and EdTech at Explora Children's Museum of Rome, shares how his museum brought a card game to life by...

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ARTECHOUSE | Innovative Digital Art | United States

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Independent, innovative space for 21st century art and audiences. Created by artists, powered by technology and supported by you.

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Please arrive an hour in advance of your concert start time to allow for ticket and security checks and any travel disruption on the day.

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con esibizione della tessera o badge di riconoscimento: Accademia Costume & Moda, Accademia Fotografica, Atac, Arsity, Biblioteche di Roma, Casa Internazionale delle Donne, Centro Romano di Fotografia e Cinema, Centro Sperimentale di Cinematografia, ENAV, Enel, FAI - Fondo Ambiente Italiano, Feltrinelli, Francesco Olgiati ONLUS, IED - Istituto Europeo di Design, IN/ARCH - Istituto Nazionale di Architettura, Istituto Pantheon Design & Technology, ISFCI - Istituto Superiore di Fotografia, La Rinascente, Sapienza Università di Roma, LAZIOcrea, Lazio Innova, NABA - Nuova Accademia di Belle Arti, Officine Fotografiche, Ordine degli Assistenti Sociali, Ordine Psicologi Lazio, Palazzo delle Esposizioni, Romaeuropa Festival, RUFA - Rome University of Fine Arts, Accademia Nazionale di Santa Cecilia, Scuola Internazionale di Comics, Teatro Eliseo, Teatro Olimpico, Teatro dell'Opera di Roma, Teatro di Roma, Università degli Studi di Roma Tor Vergata, Università UniCamillus a Roma, Youthcard.
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DISPATCH N° 17

In this new Dispatch episode we trace the events commemorated since 10 February 2004, analyzing the complex story that led to the establishment of the Giorno del Ricordo, which is becoming more and more the focus of a distorted narrative.

In this episode:

1. Alessandro Barbero, La verità sulle Foibe, 2021

2. Lorenzo Filipaz, Foibe o Esodo? "Frequently Asked Questions" per il Giorno del Ricordo, pubblicato su wumingfoundation.com, 2015.

DISPATCH N° 16

The new Dispatch was realized by sound artist, performer and curator Diana Lola Posani. The episode offers a diverse range of texts that focus on the connection between deep listening and desire Soundtrack by Ivan Liuzzo.

In this episode:

1. Pascal Quignard, BUTE, 2008

2. Marius Schneider, La musica primitiva, 1960

3. Elisa Biagini, Filamenti, 2020

4. Diana Lola Posani, La cascata e la gioiosa permeabilità, 2022, originally published in English by The Journal of the Sonic Art Research Unit (Oxford Brookes University)

DISPATCH N° 15

In this episode:

1. We are witnessing a crime against humanity , article by Arundhati Roy, The Guardian, 28 April 2021.

2. Tropical Parula, Indaiatuba, São Paulo, Brazil

4. Press release of the exhibition SOMETIMES DOING SOMETHING POETIC CAN BECOME POLITICAL AND SOMETIMES DOING SOMETHING POLITICAL CAN BECOME POETIC by artist Francis Alÿs at David Zwirner Gallery, New York, from February 15 to March 17, 2007

5. , text by Ernesto de Martino, Feltrinelli publicher, Milan 1982

6. Antico Adagio , music by Lino Capra Vaccina

DISPATCH N° 14

This new Dispatch episode has been realized by sound artist and performer Ramona Ponzini, whose vinyl in the show Trees are Columns with Clouds on Top (2019) is on display Autoritratto come Salvo.

This Dispatch is dedicated entirely to Salvo.

In this episode:

1. Franco Battiato, Di passaggio, from L'imboscata, PolyGram, 1996

2. Salvo, 40 nomi, Gravestone, 47,24 x 18,11 in, Private collection, 1971

3. Salvo, Io sono Salvo, in Salvo - Sette incisioni e sette poesie, Marco Noire edition, 1983

4. Gian Marco Montesano, ...Il catalogo è questo! (Aria del catalogo), in Salvo-Landscapes, Trento, Studio d'Arte Raffaelli, 2000

5. Aleksandr Blok, Notte, strada, lampione, farmacia..., 1912

DISPATCH N° 13

For this new episode of Dispatch,I invited Giulia Crispiani, one of the artists on show in my RETROFUTURE section, to curate a special episode. Drawing inspiration from the city of Rome, its sounds and an imagined rain that features as a sort of MacGuffin in her writing. Here, she reads Monsone perpetuo, which could be called a prelude to Il Futuro è finito ieri, the work which you can find in my physical space.

In this episode:

Giulia Crispiani reads Monsone Perpetuo, 2018

Sound by Federico Antonini

DISPATCH N° 10

This new episode of Dispatch comes out on the occasion of the #Giornatadelcontemporaneo organized by AMACI - Association of Italian Contemporary Art Museums.

I invited Nicola Pecoraro, artist and creator of my avatar, to curate this special episode. Drawing intuitively from the landscapes that surround him, he proposed for my podcast a remix of heterogeneous contents, such as the sound elements taken from everyday life and the fragments of songs that trace his research or his collaborations and make up a collage of voices.

In this episode:

2. Nicola Pecoraro, Respire L'infinir, 2020 (excerpt)

3. Interlude 1

4. Edited posts from the electronic music forum on www.gearslutz.com

5. Interlude 2

6. Introduction chapter from The Last Man, by Mary W. Shelley, 1826 (part 1)

7. Interlude 3

8. Introduction chapter from The Last Man, by Mary W. Shelley, 1826 (part 2)

DISPATCH n° 8

This podcast was made during Pauline Julier's residency at the Swiss Institute of Rome, in occasion of the evening Event Horizon - Là où commence le ciel conceived with Filipa Ramos (September 2002).

Sources are, by order of appearance:

1. Anne Carson, Lecture on the History of Skywritings, © The Louisiana Channel, Louisiana

Museum of Modern Art, 2019

2. Forensic Architecture, Cloud Studies, 2020

3. Quinn Latimer, Dear Drone, Letter in response to Pauline's video, 2020

4. Vinciane Despret in conversation with Filipa Ramos, 2020

5. Michelangelo Antonioni, Au-delà des nuages in Rien que des mensonges, 1991

6. Helmut Völter, The Movement of Clouds Around Mount Fuji, Photographed and Filmed by

Masanao Abe, 2016

Produced by the Swiss Institute of Rome, in collaboration with MACRO, Rome.

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MACRO - Museum of Contemporary Art of Rome

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"Museum for Preventive Imagination": a single exhibition project that will evolve organically until the end of 2024.

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https://www.mambogota.com/exposicion/cromofilia-carlos-cruz-diez/

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CORRESPONDENCES - SOUNDWALK COLLECTIVE & PATTI SMITH

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CORRESPONDENCES - SOUNDWALK COLLECTIVE & PATTI SMITH

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Centro Nacional de las Artes Delia Zapata Olivella - ElDelia

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Correspondences de Soundwalk Collective y Patti Smith - Centro Nacional de las Artes Delia Zapata Olivella

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Ikea is trying to take some of the guesswork out of buying new furniture, and the company has turned to augmented reality for the solution.

Say you're browsing Ikea's 2014 catalog.

Once customers find a piece of furniture that interests them, all they have to do is open up the Ikea app, point their smartphone camera at the physical catalog for a quick size calibration, and they're ready to go.

The augmented reality technology allows for color accurate and size accurate pieces of virtual furniture to placed around the house. The app works by overlaying digital models of Ikea's furniture over real-time video of your house interior. By gazing at a smartphone or tablet screen, customers can see how each piece of furniture fits their home decor.

It's like a virtual test drive for furniture, and Ikea hopes the app will cut down on purchases returned due to faulty room dimension estimates.

The Ikea augmented reality app will be available August 25th, for both Android and iOS, but you can check out a video of the app below.

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Ikea's Augmented Reality Catalog Lets You Virtually Demo Its Furniture In Your Living Room

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10 minutes live coding for visuals w/ processing | 08012019