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Fig. 4. The pilot template 2.0 for the Smart-project website, adopting the proposed CH model. Fig. 3. The pilot template 1.0 for the Smart-project website, adopting the proposed CH model.

Figure 4 The pilot template 2.0 for the Smart-project website, adopting the proposed CH model. Fig. 3. The pilot template 1.0 for the Smart-project website, adopting the proposed CH model.

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List of related/featured applications that were considered during project-analysis.
List of related/featured applications that were considered during project-analysis.
Table 1 (Continued)
Table 1 (Continued)
Fig. 2. The analysis before the design and the creation of the pilot high-fidelity CH prototypes [15]. Fig. 1. A collaborative model based on audience and cultural institutions’ engagement for the case of Thessaloniki.
Fig. 2. The analysis before the design and the creation of the pilot high-fidelity CH prototypes [15]. Fig. 1. A collaborative model based on audience and cultural institutions’ engagement for the case of Thessaloniki.
Identity of the conducted survey: audience preferences-analysis (1st phase), formative evaluation of the selected prototype (2nd phase).
Identity of the conducted survey: audience preferences-analysis (1st phase), formative evaluation of the selected prototype (2nd phase).
Fig. 5. Quantitative evaluation based on the heuristic usability analysis of Nielsen [15].
Fig. 5. Quantitative evaluation based on the heuristic usability analysis of Nielsen [15].
Table 3 One way to achieve this is the organization of conferences, sem- inars and forums to harness the potential of these industries and to promote partnerships between them. Another goal would be the dissemination of best-practices and exchange information with companies and organizations in other countries that have already developed support strategies of creative-cultural indus- tries. Initiatives of this nature are often organized in the city in order to awaken this kind of co-operation. Thus, cultural routes in the historic city-center and related touring usually take place as conference activities. While all the aforementioned events are considered very important, an integrated networked environment for gathering and properly archiving all this information is not yet available. The democratization of heritage through digital access is well documented and also acts as an inspiration, with ‘digiti- zation of CH (considered) a key challenge, in order to make CH accessible for all’ (JPI-Cultural Heritage and Global Change 2010, 6). The advent of digital technologies and the intensification of mediated communications make CH interpretation more democ- ratized, more polyvocal and less dependent on ‘experts’ [41,42]. Consequently, artists/creators can be expressed more freely and feedback can be given to museum galleries or other bodies, engaged with heritage places. Digital interaction has included innovative ways to manage interpretation, express heritage values, and cre- ate experiences through the ‘decoding’ of heritage in museum galleries. Corporations and businesses related to culture and art (bookstores, Helexpo International Music Hall, museums, art gal- leries), will be able to work together. The services that will result from this collaboration will enhance local entrepreneurship and innovation, as well as inform citizens about artistic events. The competitiveness of local economic groups will be strengthened, driven by innovation initiatives based on active citizenship. New business and innovation programs based on co-operation net- works will make their appearance. As a consequence, investments in education, research and human skills will be made. Thus, the
Table 3 One way to achieve this is the organization of conferences, sem- inars and forums to harness the potential of these industries and to promote partnerships between them. Another goal would be the dissemination of best-practices and exchange information with companies and organizations in other countries that have already developed support strategies of creative-cultural indus- tries. Initiatives of this nature are often organized in the city in order to awaken this kind of co-operation. Thus, cultural routes in the historic city-center and related touring usually take place as conference activities. While all the aforementioned events are considered very important, an integrated networked environment for gathering and properly archiving all this information is not yet available. The democratization of heritage through digital access is well documented and also acts as an inspiration, with ‘digiti- zation of CH (considered) a key challenge, in order to make CH accessible for all’ (JPI-Cultural Heritage and Global Change 2010, 6). The advent of digital technologies and the intensification of mediated communications make CH interpretation more democ- ratized, more polyvocal and less dependent on ‘experts’ [41,42]. Consequently, artists/creators can be expressed more freely and feedback can be given to museum galleries or other bodies, engaged with heritage places. Digital interaction has included innovative ways to manage interpretation, express heritage values, and cre- ate experiences through the ‘decoding’ of heritage in museum galleries. Corporations and businesses related to culture and art (bookstores, Helexpo International Music Hall, museums, art gal- leries), will be able to work together. The services that will result from this collaboration will enhance local entrepreneurship and innovation, as well as inform citizens about artistic events. The competitiveness of local economic groups will be strengthened, driven by innovation initiatives based on active citizenship. New business and innovation programs based on co-operation net- works will make their appearance. As a consequence, investments in education, research and human skills will be made. Thus, the
Fig. 6. Correlation analysis between the desired preferences and the evaluated usability metrics in all the tested groups: a: art lovers; b: artists; c: journalists; d: art: representatives.
Fig. 6. Correlation analysis between the desired preferences and the evaluated usability metrics in all the tested groups: a: art lovers; b: artists; c: journalists; d: art: representatives.
Related topics:
SociologyArchaeologyNew MediaInteractive and Digital MediaInteractive ArtsArts JournalismLinear and Non Linear ModelsNew Technologies of Information and Communication
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