View source for MUSETECH Evaluation Criteria by Cluster

==Overview==
{{Main|The MUSETECH Model}}
The MUSETECH Model<ref>https://dl.acm.org/doi/10.1145/3297717</ref> posits that in order for museums to successfully utilize technologies, there are three stakeholder perspectives that must be considered.  Throughout all stages of a museum technology project, these perspectives offer views that complement and inform the others in a way that can build institutional synergy. This model also states that there are four primary stages or constituents of a museum technology project.  These quartiles contain evaluation criteria per perspective, grouped by thematic categories, which allows for a granular overview of the considerations throughout each stage of the technology project.

==Design Quartile==
===D1. Design and product ideation===
====Cultural Heritage Professional====
=====D1Pa. Design concept=====
The main goal or concept that is to be achieved with a specific technology idea or application.  Cutting edge or novel technologies without an established use may be difficult to fully conceptualize<ref> Areti Damala and Nenad Stojanovic. 2012. Tailoring the Adaptive Augmented Reality (A2R) museum
visit: Identifying Cultural Heritage professionals' motivations and needs. In Proceedings of the 2012
IEEE International Symposium on Mixed and Augmented Reality - Arts, Media, and Humanities
(ISMAR-AMH). Atlanta, USA, IEEE, 71-80.</ref>.
=====D1Pb. Integration with exhibit=====
This criteria is about how well the technology will or can be integrated into the exhibit or other things on display.
=====D1Pc. Integration with other ICT=====
This criteria relates to how well the technology integrates with other Information and Communication technologies.  Can this technology be used with other on-site, off-site or online technologies used by the institution?
=====D1Pd. Balance of physical with digital=====
This criteria relates to the balance between physical and digital elements within an exhibit or display.  Certain technologies can "overshadow" a visitors connection with an exhibit or the objects on display<ref>Merel Van der Vaart and Areti Damala. 2015. Through the Loupe: Visitor Engagement With a Primarily
Text-Based Handheld AR Application. In Proceedings of the IEEE Digital Heritage 2015 Conference, vol. 2,
535-544. doi: 10.1109/DigitalHeritage.2015.7419574</ref>.

=====D1Pe. Clear understanding of the fabrication process=====
This criteria is about the clarity and understanding of the fabrication, installation and deployment process for the technology by Cultural Heritage Professionals.

=====D1Pf. Level of in-house technical knowledge=====
This criteria considers whether there is enough in-house technical knowledge to independently manage the project, or if support and consultation will be required by external contractors to fully manage this project.

====Museum Institution====

=====D1Ma. Level of Innovation and business intelligence=====
What value does this technology and this specific approach add for your institution?
=====D1Mb. Brand name, uniqueness, originality=====
This criterion is about whether the technology used serves the museum's brand and reputation<ref>Jane Finnis. 2017. Let’s Get Real 5: What’s the Brand? Culture24</ref>.
=====D1Mc. Integration with other ICT=====
This criterion evaluates how the new technology or project would integrate into the existing digital framework of the institution. 
=====D1Md. Budget=====
This criterion is about the financial considerations that may be associated with a technology project, including a cost versus benefit analysis.
=====D1Me. Staff acceptance=====
This criterion relates to the staff of the institution and their willingness to adopt and embrace the new technology, or if it will merely be tolerated.

====Visitor====

=====D1Va. Co-design, front-end evaluation and visitor acceptance=====
This criterion is related to initiatives that include visitors in the early design and evaluation phases<ref>Susie Ironside. 2013. Glasgow Museums. In Museum Practice 15.01.2013, Museums Association: London.
Retrieved from: https://www.museumsassociation.org/museum-practice/youth-panels/15012013-glasgowmuseums</ref>.

===D2. Experience design and narratives===
====Cultural Heritage Professional====

=====D2Pa. Experience added value=====
This criterion relates to how the technology mediation relates to the application it is being used it, because different technologies offer different visitor experiences.
=====D2Pb. Relevance to audience=====
This criterion relates to the relevancy of the content on display to the intended audience.
=====D2Pc. Tailored content=====
This criterion relates to how a Cultural Heritage Professional might tailor the content and narrative to different visitors' profiles.
=====D2Pd. Attentional balance=====
This criterion relates to the attentional balance of the technology and physical elements of an exhibit.
=====D2Pe. Social interaction=====
This criterion considers the role this technology can have in fostering and facilitating social interaction in real and virtual spaces.
=====D2Pf. Before and after the visit support=====
This criterion relates to the potential of the technology linking pre- and post-visit activities.

====Museum Institution====

=====D2Ma. Interpretive, educational and learning potential=====
This criterion relates to the interpretive, educational and learning potential that the technology project may provide.
=====D2Mb. Personalization potential=====
This criterion relates to the museum's potential for providing personalized content for visitors through a customization, context-awareness or adaptivity mechanism.  This is distinct from the "tailored content" provided by Cultural Heritage Professionals.
=====D2Mc. Public outreach and communication=====
This criterion relates to the potential of a museum using this technology to connect with their communities<ref>Elena Not and Daniella Petrelli. 2018. Blending customisation, context-awareness and adaptivity for
personalised tangible interaction in cultural heritage. International Journal of Human-Computer
Studies 114 (2018): 3-19.</ref>.
=====D2Md. Big data potential=====
This criterion relates to the big data potential provided by some technology solutions that can offer useful insight into visitor preferences.

====Visitor====

=====D2Va. Engagement=====
This criterion refers to the opportunities offered to visitors to engage them on a physical, emotional, intellectual, social, cognitive or proprioceptive level<ref>Mihalyi Csikszentmihalyi and Kim Hermanson. 1999. Intrinsic motivation in museums: Why does one
want to learn. The educational role of the museum, Routledge: London, 146–160.</ref>.
=====D2Vb. Personalization=====
Personalization of content and narratives for specific visitors should increate engagement.
=====D2Vc. Learning, entertainment and edutainment=====
Edutainment is both instructive and fun, providing both learning and entertainment<ref>Isabelle Astic, Coline Aunis, Areti Damala, and Eric Gressier-Soudan. 2011. A ubiquitous mobile
edutainement application for learning science through play. In Museums and the Web 2011 Proceedings.
Retrieved from:
https://www.museumsandtheweb.com/mw2011/papers/a_ubiquitous_mobile_edutainment_application_fo.
html</ref>.  Pleasant and positive memories are favored over unpleasant memories<ref>John Falk and Lynn Dierking. 2018. Learning from museums. Rowman & Littlefield.</ref>.
=====D2Vd. Attentional balance=====
This criterion relates to how a visitor balances their attention between the physical object and the technology.
=====D2Ve. Affective impact=====
This criterion relates to the emotional resonance that a digital resource may invoke from a visitor.  A number of studies have highlighted the increasing importance of emotion and affect for learning<ref>Areti Damala, Eva Hornecker, Merel van der Vaart, Dick van Dijk, and Ian Ruthven. 2016a. The Loupe:
Tangible Augmented Reality for Learning to Look at Ancient Greek Art. Mediterranean Archaeology and
Archaeometry. 16, 5 (2016), 73–85.</ref><ref>Sara Perry, Maria Economou, Hilary Young, Maria Roussou, and Laia Pujol-Tost. 2017. Moving beyond
the virtual museum: Engaging visitors emotionally. In Proceedings of the 23rd International Conference
on Virtual System & Multimedia (VSMM), IEEE, 1-8. doi:10.1109/VSMM.2017.8346276
</ref>.
=====D2Vf. Social interaction=====
This criterion considers the role this technology can have in fostering and facilitating social interaction in real and virtual spaces.

''Related Criteria: D2Pe''
=====D2Vg. Ability to follow usage on other platforms=====
This criterion is about how a visitor may follow up with or access something they initially experienced in a different context.
=====D2Vh. Sense of belonging to a community=====
This criterion relates to empowering visitors to feel that they are part of a local, regional, national or international community<ref>Luigina Ciolfi, Areti Damala, Eva Hornecker, Laura Maye, and Monika Lechner. 2018. Cultural
Heritage Communities: Technologies and Challenges. Routledge.</ref>.

===D3. Interactions, affordances, and interaction metaphors===
====Cultural Heritage Professional====

=====D3Pa. Quality of Affordances=====
Affordances are the intrinsic properties of a thing that provide clues about how it can be used<ref>Donald Norman. 1999. Affordance, conventions, and design. Interactions 6(3), 38-43.</ref>.
=====D3Pb. Suitability of interaction metaphors=====
This criterion is related to the efficacy of an interactive's physical form to communicate it's function.
=====D3Pc. Interface design=====
This criterion relates to how clean, clear and comprehensive the interface is, regardless of the form it takes.
=====D3Pd. Clarity of navigation=====
This criterion relates to how intuitively and successfully someone can navigate within contents or the physical space being augmented.
=====D3Pe. Follow-up usage on other platforms=====
This criterion is about how a visitor may follow up with or access something they initially experienced in a different context.
=====D3Pf. Multisensoriality=====
This criterion refers to the inclusion of additional senses beside seeing, reading or hearing.

====Museum Institution====

=====D3Ma. Follow-up usage on other platforms=====
This criterion is about how a visitor may follow up with or access something they initially experienced in a different context.
=====D3Mb. Brand name, uniqueness and originality=====
This criterion is about how an interactive communicates the brand identity of the museum.

====Visitor====

=====D3Va. Utility, usability and ease of use=====
This criterion looks at what meaning the visitor can achieve through using the technology interactive.  After it has been established to have utility, it is important to ensure that it usable and easy to use.

=====D3Vb. Intuitiveness, learnability and learning curve=====
This criterion relates to the initial learning phase associated with the interactive.  It is recommended to use familiar affordances and interaction methods that the visitor can learn quickly.  The time span a visitor will spend understanding an interactive is very small<ref>Eva Hornecker. 2008. “I don’t understand it either, but it is cool”-visitor interactions with a multi-touch table in a museum." In 3rd IEEE International Workshop on Horizontal interactive human computer systems, IEEE, 113-121.</ref>.

=====D3Vc. Responsiveness=====
This criterion relates to how responsive the device or application is to the feedback of a user.  It can help to provide visual or audio feedback to inform users their input was recognized<ref>Judy Diamond. 1991. Prototyping interactive exhibits on rocks and minerals. Curator: The Museum Journal, 34(1), 5-17.</ref>.

=====D3Vd. Clarity of navigation=====
This criterion relates to how easily and intuitively a visitor can navigate through the digital interface, as well as physical spaces if used to augment a visit.

=====D3Ve. Personalization=====
This criterion refers to how well the content covers the visitors needs, interests and motivations when used through a personalization mechanism.

''Related Criteria: D2Pc, D2Mb''

=====D3Vf. Social interaction=====
This criterion considers the role this technology can have in fostering and facilitating social interaction in real and virtual spaces.

=====D3Vg. Ability to follow-up usage on other platforms=====
This criterion is about how a visitor may follow up with or access something they initially experienced in a different context.

=====D3Vh. Presence of Multisensoriality=====

This criterion relates to the potential of interactions and engagement that use multiple or different senses that sight and hearing.
===D4. Aesthetics, look and feel and visceral qualities===
====Cultural Heritage Professional====

=====D4Pa. Look and feel=====
This criterion relates to the physical properties of the technology that make up the look and feel of the final product, such as weight, colors, and materials.

====Museum Institution====

=====D4Ma. Brand name, uniqueness and originality=====
This criterion relates to the potential for the aesthetics and intrinsic qualities of the design to overlap with vision and brand of a museum.

====Visitor====

=====D4Va. Look and feel=====
This criterion relates to the look and feel of the interactive, which might be of great importance to the visitor's overall experience.

==Content Quartile==
===C1. Content creation===
====Cultural Heritage Professional====

=====C1Pa. Utility, usability and ease of use=====
This criterion relates to the utility, usability and ease of use for content creation within the new technology project.
=====C1Pb. Learnability and learning curve=====
This criterion relates to how quickly a cultural heritage professional can master the content creation system for the new technology project.
=====C1Pc. Personalization and adaptation=====
This criterion relates to mechanisms or approaches that allow content to be adapted to different visitors' profiles.
=====C1Pd. Multilingualism=====
This criterion relates to the technology projects ability to utilize learning resources in multiple languages.
=====C1Pe. Community support=====
This criterion relates to support provided by communities both inside and outside of the institution itself.
=====C1Pf. Technology knowledge and support in the house=====
More cutting edge or complex technologies may require contracting specialists or training staff.  It is important to identify everything that is required to manage the content creation process.
=====C1Pg. Interoperability=====
This criterion relates to the technologies ability to work across different systems or applications.
====Museum Institution====

=====C1Ma. Continuity of usage=====
This criterion relates to the interoperability of the technology, but also has the added dimension of time.  Can the content be accessed at different times, such as before, during or after a visit?
=====C1Mb. Logging=====
This criterion relates to the technology's capabilities for creating data useful for analytic purposes, such as gleaning visitor patterns.
====Visitor====

=====C1Va. Perceived content quality=====
Content created for an audience is synthesized by the visitor through a unique process that ascribes personal meaning, resulting in them judging it as more or less relevant.

=====C1Vb. Visitor-created content, creation and curation=====
This criterion relates to the visitor's available to create and curate content through the interactive.

===C2. Content maintenance===
====Cultural Heritage Professional====

=====C2Pa. Ability to make changes in-house=====
=====C2Pb. Potential for documenting and archiving=====

====Museum Institution====

=====C2Ma. Staff acceptance=====
=====C2Mb. Interoperability and modularity=====

====Visitor====

=====C2Va. Personalization=====
=====C2Vb. Social interaction and sharing=====
=====C2Vc. Continuity of usage=====

==Compliance Quartile==
===MP1. Health, safety and accessibility===
====Cultural Heritage Professional====

=====MP1Pa. Accessibility=====
=====MP1Pb. Appropriateness=====
=====MP1Pc. Safety=====

====Museum Institution====

=====MP1Ma. Safety=====
=====MP1Mb. Emergency management=====
=====MP1Mc. Disposal and recycling=====
=====MP1Md. Hygiene, cleaning and maintenance=====

====Visitor====

=====MP1Va. Accessibility=====
=====MP1Vb. Appropriateness=====
=====MP1Vc. Safety=====

===MP2. Logging and monitoring===
====Cultural Heritage Professional====

=====MP2Pa. Logging and monitoring=====

====Museum Institution====

=====MP2Ma. Log storage, access, privacy and analytics=====


====Visitor====

=====MP2Va. Personalization=====
=====MP2Vb. Legal compliance=====

===MP3. Ethics and legal issues===
====Cultural Heritage Professional====

=====MP3Pa. Protecting audiences=====
=====MP3Pb. Data gathering and protection=====

====Museum Institution====

=====MP3Ma. Other legal issues=====
=====MP3Mb. Data protection laws=====
=====MP3Mc. Ethics for gathering data=====

====Visitor====

=====MP3Va. Trust and confidence in museum=====

==Operation Quartile==
===O1. Deployment and setting-up===
====Cultural Heritage Professional====

=====O1Pa. Ease of use for installation=====
=====O1Pb. Distance monitoring=====
=====O1Pc. Workflow=====
=====O1Pd. In-house technical knowledge=====
=====O1Pe. Additional staff training=====

====Museum Institution====

=====O1Ma. Set-up and start up=====
=====O1Mb. Modularity and interoperability=====
=====O1Mc. Staff and front-desk training=====
=====O1Md. Distribution, recovery and guarantee=====

====Visitor====

=====O1Va. Visitor experience quality and customer care=====
=====O1Vb. Visitor-owned devices=====


===O2. Robustness and maintenance===
====Cultural Heritage Professional====

=====O2Pa. Environmental contraints=====
=====O2Pb. Robustness=====
=====O2Pc. Maintenance required=====
=====O2Pd. Updating and replacing=====

====Museum Institution====

=====O2Ma. Storage cost=====
=====O2Mb. Level of maintenance=====
=====O2Mc. Loss, deterioration, theft and replacement=====
=====O2Md. Reusing and disposing=====

====Visitor====

=====O2Va. Robustness=====
=====O2Vb. Responsiveness=====
=====O2Vc. Stability=====
=====O2Vd. Speed and speed of recovery=====


===O3. Power and energy===
====Cultural Heritage Professional====

=====O3Pa. Day to day running and maintenance=====
=====O3Pb. Stability=====


====Museum Institution====

=====O3Ma. Interventions in the exhibit space=====


====Visitor====

=====O3Va. Prevent feelings of failure and frustration=====



===O4. Costs===
====Cultural Heritage Professional====

=====O4Pa. Workforce, time and additional staff=====


====Museum Institution====

=====O4Ma. Financial costs and investments=====
=====O4Mb. Running costs=====

====Visitor====

=====O4Va. Costs (value for money and time)=====



===O5. Additional Resources===
====Cultural Heritage Professional====

=====O5Pa. Instructions and how-to guides=====


====Museum Institution====

=====O5Ma. Adopting, financing and sponsoring=====

====Visitor====

=====O5Va. Uptake=====

==References==