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Arts & Communication Integrating extended reality in modern museums

passive to active participation and from absorption to assessment tool, and other questionnaires could benefit
immersion, respectively) in all four dimensions of the museum professionals. For instance, the Novac and
museum experience (entertainment, education, esthetics, Biocca Questionnaire is used to verify the positive
and escape). In particular, interactive technologies in influence of anthropomorphism on presence in a virtual
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the museum sector play a catalytic role – either positively environment. 39,40 In the same vein, the MEC Spatial
or negatively – in fostering visitor engagement through Presence Questionnaire (MECSPQ), the “New Cross-
participation and value co-creation in a world where Media Presence Questionnaire: The ITC-Sense of Presence
memory-making experiences are a dominant form of Inventory,” and the “ITC-Sense of Presence Inventory (ITC-
economic production. 31,32 SOPI)” have been developed to facilitate the comparison of
Thus, researchers have proposed models for the optimal results and to measure the user’s feeling of being physically
utilization of technology to maximize the value of tourism present in interactive virtual environments. These tools
experiences. Similarly, YiFei and Othman conducted could thus help researchers and designers measure and
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41-43
a study based on quantitative research methods and ultimately improve visitors’ experiences.
previous studies published between 2010 and 2023, which 3.3. Recontextualizing the museum environment
addressed the behavioral intentions of museum visitors through XR technologies
toward VR, considering the technology acceptance model
and its extensions. 4 XR technologies have been seen as a means to
recontextualize the museum environment, facilitating
The researchers identified four key factors influencing their transition from a temple (a static space) to a forum
user engagement and driving visitor behavioral intentions: (a dynamic space, where visitors have no choice but to
“perceived usefulness” (the perception of VR as a valuable affirm their faith and marvel at exhibited artifacts in a
tool for improving knowledge, understanding, or dynamic forum of knowledge, a “space for intercultural
enjoyment), “information quality,” “perceived ease of use,” dialog” centered around visitors. In this new model,
(implying a smooth VR interaction), and “psychological visitors are free to access, experiment, interpret, and even
cognition”. The latter, described as “a complex web of challenge museum knowledge through genuine personal
4
emotions, perceptions, and mental processes” (such interaction. 44,45 This enables engagement not only with
as curiosity, awe, reverence, “presence,” or “embracing physical objects and collections but also with intangible
immersion” and cognitive engagement), significantly material and abstract CH content. 44,45
shapes user engagement with VR in museums, according
to the authors. In this context, Spence et al. (2020) created a highly
personal VR/MR museum experience combined with
There are numerous models and frameworks that haptics (VRtefacts), where visitors could physically handle
cultural managers and policymakers could use to evaluate 3D-printed or scanned museum objects and produce their
technology’s impact on users or positively influence own stories and interpretations. These interpretations
visitor behavior. For instance, the Social Practice Theory could then be shared with and donated to the museum.
46
of 4E (Enable, Encourage, Engage, and Exemplify) and its This physical interaction and personal interpretation,
extensions could help generate positive responses from fully aligned with the principle of new visitor-centered
target audiences; similarly, the Theory of Planned Behavior museology, such as the “rehabilitation of touch” and
may provide a conceptual framework to help managers trace the questioning of curatorial authority, was designed
attitudes, understand visitors’ behaviors, and implement to stimulate visitors’ senses, foster a sense of intimacy
effective interventions in the museum environment. 34,35 with the creators or users of the objects through touch,
Methodological tools, such as the Mechanics, Dynamics, and encourage active engagement in the interpretive
and Esthetics framework, commonly used to support process. 46,47
game design and improve the efficiency and effectiveness In addition, beyond providing a sense of presence and
of the game development process, could also prove useful immersion in different environments, XR technologies can
for museum game developers. 36,37 Similarly, studies that involve users in production processes. A prime example is
investigate the impact of factors such as age, gender, or virtual migration museums, where participatory workshops
prior gaming experience on performance parameters have shown that integrating XR migrant experiences and
can help museum game designers better understand the mnemonic labor can facilitate active mnemonic place-
capabilities of different players. 38 making for users. As Reading et al. noted, when audiences
Finally, evaluation tools such as the Ubisoft engage with digital memories of the place, particularly
Perceived Experience Questionnaire (UPEQ), a game when they can upload, augment, or interact with those

Volume 3 Issue 1 (2025) 4 doi: 10.36922/ac.3428