Page 46 - AC/E Digital Culture Annual Report

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movement for accessing content and discovering hidden messages. The experience is based on augmented reality technology that facilitates interactivity and “gamifies” the process of devising recipes – in other words, it turns it into a game with challenges and achievements for progressing in culinary skills from kitchen helper to great chef. It also offers 24 recipes devised by Ferran Adrià and based on the worlds of Disney, Pixar, Marvel and Star Wars. At Telefónica they underline that the mobile application promotes healthy habits and cooking with the family, and is part of a multiplatform project together with the book Te cuento en la cocina (Penguin Random House, 2017). As we can see, the use of different media and formats is recurrent even in a space that presents itself as entirely digital.
A new virtual reality room makes it possible to interact three-dimensionally with digitised 3D images of several fossils at the Institut Català de Paleontologia.
Another similar case of technology that is
here to stay and promotes the transmedia concept in museums is the Institut Català de Paleontologia. In 2010 they opened a new virtual reality room that makes it possible to interact three-dimensionally with digitised 3D images
of several fossils belonging to the institute and announced that virtual reality and augmented reality techniques are useful for both researchers and laypeople as they allow fossils to be studied without handling the original pieces and discover the details of aspects that would ordinarily be concealed to visitors in a conventional display. This digitisation was furthermore reflected on
its website and is the origin of the current virtual palaeontology research group, Grupo de Investi- gación en Paleontología Virtual.
The institute explains that this is a cross-cutting unit which draws on other research groups and uses non-invasive technology to study fossils in order to explore and quantify structures that are not usually visible. The techniques they work with include 3D modelling, industrial and medical
computerised tomography, laser scanning and photogrammetry, as well as engineering tech- niques such as the analysis of finite elements. Since 2013 the ICP’s equipment has included
the most powerful industrial computerised tomography scanner in Spain for analysing large samples with a high resolution. Other equipment includes a Next Engine laser scanner as well as powerful workstations for analysing and inter- preting the results. The success of this initiative is partly due to close and constant collaboration with engineers at the Universidat Politècnica
de Catalunya (UPC) with whom they develop new approaches to the biomechanics of extinct animals.
The institute also houses the 3D Virtual Lab, which sets out to make a team of people and equipment specialised in digitising all kinds of pieces, offering a laboratory fitted with the main state-of-the-art digitisation tools to cater to the needs of any project.
All this work on the possibilities digital technolo- gies offer in the field of palaeontological research has repercussions not only on the museum’s exhibition format but also on the huge number of activities scheduled for visitors, which provide them with a new way of accessing and sharing information aimed at a wide range of people from children to experts.
As for specific exhibitions, an important example is Pity and Terror: Picasso’s Path to Guernica organised by the Museo Nacional Centro de Arte Reina Sofía to commemorate the 80th anniver- sary of Pablo Picasso’s Guernica. The museum’s website lists the activities related to the exhibi- tion, such as guided tours, seminars, lectures and a music project run by Radio 3 and RTVE where various musicians and performers have written lyrics inspired by the Málaga-born painter’s work. This format has been very well received and has been disseminated by Radio 3’s culture pro- grammes along with live music concerts where composers, positioned by the work, perform the songs written specially to promote the event.
DIGITAL DESIGN OF CULTURAL CONTENT: TOWARDS A TRANSMEDIA EXHIBITION MODEL · UNIT
Digital Trends in Culture