Scaffolding Creativity of Arts Students: Framework, Toolchain, and Educational Material on how to Create their Own Virtual Exhibitions

When we applied for this project one key issue and need of European HEIs was the absence of unified frameworks and tools that address state-of-the-art challenges related to solutions that provide the opportunity for art students to present their work in a creative and educational way on the basis of XR technologies. The recent literature revealed that the information concerning virtual exhibition creation was fragmentary and entails several weaknesses with regard to the special requirements of art students. From an educational perspective, there was a need to develop easy-to-use technologies for the creation of virtual exhibitions as a means to educate and train stakeholders in HEIs. This embraces the design and development of courses and training material, hands-on practical tutorials, and webinars with regard to best practices of solutions for virtual exhibition creation. Through the implementation of CREAMS, we attempted to address the aforementioned multi-disciplinary challenges and intrinsic needs of participating HEIs for exploiting the educational potential of Extended Reality technologies and creating awareness among various stakeholders regarding scaffolding the creativity of art students.

We wanted to achieve the following objectives: A) Engage Stakeholders of European HEIs to Elicit Requirements related to the creation of virtual exhibitions for art students. B) Design, Develop, and Evaluate a Framework and Open-source Tools for the creation of a virtual exhibition for art students. CREAMS aimed to enrich digital capabilities and readiness of HEIs through the design, development, and evaluation of a state-of-the-art framework and tools for virtual exhibition creation designed to meet art students' needs. C) Implement and Evaluate Educational Material for HEIs Stakeholders and Implement LTTAs. CREAMS aimed to implement digital educational material in the form of PowerPoint presentations and webinars, hands-on exercises available in five European languages (Greek, German, Norwegian, Hebrew, and English), and performed three LTTAs at the partner HEIs. D) Dissemination and Sustainability. CREAMS aimed to disseminate and exploit the project results to different target audiences and stakeholders through joint publications, engagement in accredited conferences, showcase events, multiplier events, engagement in social media, and deploying the framework in real-world HEI settings.

Project Result (PR1): Requirements Verification and Conceptual Design of the Framework. As part of the needs verification analysis, the main outcome related to gaining insights with regard to the intrinsic requirements of stakeholders with respect to the employment of virtual reality platforms for art exhibitions in HEIs. This new knowledge was actively used to drive the design and development of the CREAMS framework. In the context of Task 1.1, we first concluded a literature review on current challenges and open issues on cultural uses of virtual reality, such as digitization of 2d/3d artworks with low-cost devices used by students themselves. Next, we filtered literature review findings by expert opinions. A series of mock-up scenarios is designed based on the actual processes in a fine art school environment concerning the interactions among instructors, students, visitors, artworks, and exhibitions. Those mock-up scenarios were used as a system introduction for a series of focus group semi-structured interviews with several HEI stakeholders (e.g., instructors, art students, art exhibition visitors) in relation to the actual uses of XR technologies for dissemination and accessing of arts-led research results, existing challenges and needs. The purpose of R1 was to verify with the partner HEIs requirements related to the design and development of tools and methods for scaffolding virtual exhibitions of art students that have been derived from the literature for driving the specifications of the CREAM framework. More specifically, the main objectives were the following: i) Verify and validate results from the literature through real-world case studies with key stakeholders at different European HEIs; ii) Define quantitative and qualitative metrics for user acceptability; iii) Set the specifications of the CREAMS Platform framework, and iv) Design the conceptual and methodological framework of the CREAMS Platform. The work was divided into three tasks as follows: i) Task 1.1: Needs Validation and Verification. This task aimed to conduct a needs validation and verification analysis on digital readiness in connection to the employment of state-of-the-art technologies for the dissemination of the output of artistic and art-led research in arts-related HEIs. Under this task, we mapped existing approaches, requirements, and special material characteristics to be communicated through virtual exhibitions. As part of the activities for producing R1 within Task 1.1, we first concluded a literature review on current challenges and open issues on cultural uses of virtual reality, such as digitization of 2D/3D artworks with low-cost devices used by students. Next, we filtered literature review findings by expert opinions. A series of mock-up scenarios are designed based on the actual processes in a fine art school environment concerning the interactions among instructors, students, visitors, artworks, and exhibitions. Those mock-up scenarios were used as a system introduction for a series of focus group semi-structured interviews with several HEI stakeholders (e.g., instructors, art students, art exhibition visitors) in relation to the actual uses of XR technologies for dissemination and accessing of arts-led research results, existing challenges and needs. As part of Task 1.2, we identified, based on state-of-the-art literature analysis, and accordingly defined, quantitative and qualitative metrics that were used for reflecting the level of readiness HEIs have with regard to the aspect of employing cutting-edge digital technologies to organize, promote, and disseminate their students' artistic practice. We identified a number of quantitative and qualitative readiness metrics for employing cutting-edge technologies for virtual exhibitions in HEIs. Moreover, Task 1.3 pertains to the CREAMS Framework Conceptual Design. Based on the outcome of the needs validation and verification analysis at the participating HEIs (Task 1.1), and the defined user acceptability metrics (Task 1.2) within Task 1.3, we determined a first set of specifications and produced the conceptual design of the CREAMS Platform framework. After the first formative evaluation of CREAMS tools, we implemented revisions on specifications and the conceptual design of the CREAMS Platform framework (Task 1.3) based on the feedback received. After the second formative evaluation of CREAMS high-fidelity tools, we implemented revisions on specifications and the conceptual design of the CREAMS Platform framework (Task 1.3) based on the feedback received. Project Result (PR2): Design and Implementation of Tools supporting the Digitization of Physical Artifacts and the Creation of Virtual Exhibitions. We designed, developed and produced three different prototype versions of the framework used iteratively, following a User-Centered Design method. Informed by formative and summative studies. The CREAMS platform supports an innovative workflow that consist of a) digitization of physical artifacts into the CREAMS platform through a mobile application, b) assigning the digitized artifacts to virtual exhibitions, c) personalizing the narratives to specific technological means (Mixed Reality, Augmented Reality or Virtual Reality) and target groups. In the context of PR2, we developed a low-fidelity version, a second high-fidelity version and the final version. The work was divided into three tasks as follows: i) Task 2.1: Architecture and Structure Design. This task aimed to produce the architectural design of the CREAMS Platform framework with regard to artwork digitization virtual exhibition creation with initial provisions for the scaffolding of pertinent training. Based on the specification of the framework (produced in R1), this task was responsible for setting the technical methodology, specifications, and infrastructure upon which the development of the framework and toolchain will be based. As part of the activities for producing R2 within Task 2.1, we determined and described the architectural design of the CREAMS platform, the sequence diagrams of tools’ use-case scenarios, the description of the Application Programming Interface (API) and database design, and the front-end designs of the CREAMS tools and technologies. ii) Task 2.2: Digitization of Physical Artifacts and Personalization of Virtual Exhibition based on Customized Narratives. Within Task 2.2, we designed and developed the CREAMS 2d-digitization and 3d-digitization applications, which are hosted and publicly available under the CREAMS Git repository (https://github.com/cognitiveux/creams). Also, they can be downloaded from the CREAMS website (https://creams-project.eu/poc3.php). CREAMS digitization applications are smartphone applications enabling students to scan and digitize 2d/3d-dimensional physical artifacts with high-fidelity and store them in the CREAMS platform. iii) Task 2.3: Development, Integration, and Privacy-preservation of the Developed Components. As part of the activities for producing R2 within Task 2.3, we designed and developed the first, second and final versions of the CREAMS tools of the CREAMS platform. All the tools and technologies are hosted and publicly available under the CREAMS Git repository (https://github.com/cognitiveux/creams). Also, they are accessible from the CREAMS website (https://creams-project.eu/poc3.php). Specifically the CREAMS platform included the following tools in the low-fidelity version: a) the core infrastructure and backend systems of the CREAMS platform including the implemented Application Programming Interface (API) and an interactive dashboard for experimenting and testing the implemented API end-points; b) the CREAMS artist-centered content management system enabling relevant stakeholders of the project to manage and interact with digital artworks; c) the CREAMS Web-based Virtual Reality (VR) exhibition component enabling online visitors to interact with the students’ digital artworks through a Web VR view; d) the Augmented Reality (AR) outdoor exhibition smartphone application, which enables visitors to access and view the digital artworks of CREAMS within an AR view in outdoor contexts; and e) the CREAMS digitization application, which is a smartphone application enabling students to scan and digitize two dimensional physical artefacts, and store them in the CREAMS platform for further processing and usage within the CREAMS digital exhibitions. In the second version (high-fidelity), we enriched CREAMS framework with a native MR exhibition application based on Microsoft HoloLens. MR application can be downloaded from the CREAMS website (https://creams-project.eu/poc3.php). The second CREAMS version enhanced education services to instructors and students (curatorial process), provided artist services, and offered enhanced AR outdoor exhibition functionalities, along with in-home and indoor augmentation functionalities through an enhanced AR exhibitions application (the enhanced AR application can be downloaded from the CREAMS website https://creams-project.eu/poc3.php). Finally, CREAMS second version offered enhanced functionalities for art students concerning the creation of photo-realistic XR exhibitions (sketchbook functionalities, modular exhibition space creation, lighting, sound, and video management), along with high-fidelity 2d digitization functionalities and low-fidelity 3d digitization functionalities. The final version of CREAMS tools included an enhanced artist-centered content management system (communication/chat functionalities for students and instructors, VR/AR/MR exhibition editors and media management functionalities for students), Web Virtual Reality art exhibition tools for visitors, an enhanced with personalisation capabilities native Mixed Reality application (match an artwork from the physical world, artwork gallery with artwork extended view and associated media and cognitive agent functionalities), two fully operational 2d-digitization and 3d-digitization applications, and a refined Augmented Reality mobile application (with outdoor, indoor, in-home exhibition functionalities). Web application and Virtual Reality editor can be accessed from https://creams-poc-final.cognitiveux.net/web_app/login/ Augmented Reality Application, 2D/3D Digitizer Applications and Mixed Reality Application can be downloaded from the link https://creams-project.eu/poc3.php Project Result (PR3): System Verification and User Acceptance of the CREAMS Framework. Finally, the system verification and user evaluation studies produced verification and evaluation results of the framework on the added value, effectiveness, system performance, accuracy of the implemented technology, as well as the user acceptance, opinions, and perceived user values such as perceived usability, privacy and trust towards the technology. As part of our activities in Task 3.1, we have produced a planning report in which we reviewed existing methodologies employed for user evaluation of Virtual, Augmented, and Mixed Reality (Extended Reality/XR) experiences supported by the respective emerging technologies, with emphasis on cultural heritage and the arts. The assessment findings accrued from a parallel procedure involving the three main categories of users: visitors in virtual galleries, artists, and art teachers. ICT experts with backgrounds in digital heritage were also involved as participants. We analyzed existing methodologies and proceeded by adapting them to the specificity of extended reality art exhibitions. Furthermore, within Task 3.1, we recruited experts in art education and art students to verify the developed technology. ii) Task 3.2: Formative User Evaluation Studies. We conducted formative user evaluation studies, including users from the partner HEIs to receive user feedback (e.g., art students, instructors, etc.), expert stakeholders to test the solution's effectiveness from the perspective of system integrity (technological approach), aptitude for exhibiting artistic material, (art specialist perspective), and from an art education point of view, its potential for meaningful engagement with art. As part of the activities in Task 3.2, we performed the first formative user evaluation study to evaluate the adaptation of the implemented low-fidelity CREAMS tools to the specific requirements of art exhibitions. The study included expert stakeholders that tested the solution's effectiveness from the perspective of system integrity (technological approach), the aptitude for exhibiting artistic material (art specialist perspective), and the CREAMS platform's potential for meaningful engagement with art (art education point of view). As an outcome of Task 3.2, we have produced an evaluation report. The results and findings of the first formative evaluation informed the development of the tools and methods in PR2. Also, as part of the activities in Task 3.2, we performed the second formative user evaluation study to evaluate the adaptation of the implemented high-fidelity CREAMS tools to the specific requirements of art exhibitions. The 2nd formative user evaluation study assessed the usability and effectiveness of the CREAMS tools from the perspective of art students, art teachers, ICT specialists, and Visitors trying to identify areas for tools improvement in the user interface, functionality and overall user experience. The evaluation aimed to ensure that the applications meet the needs of the art students and support their creative processes while providing insights into further development and enhancement of the platform. For each application interface we employed a number of users grouped in four categories: Visitors, Art Students, Art Teachers, and ICT Specialists. As an outcome of Task 3.2, we have produced an evaluation report. The results and findings of the second formative evaluation informed the development of the tools and methods in PR2. iii) Task 3.3: Summative User Evaluation Studies. The aim of this task was the running of summative user evaluation studies including users from the partner HEIs to receive user feedback (e.g., art students, instructors, etc.), expert stakeholders to test the solution's effectiveness from the perspective of system integrity (technological approach), aptitude for exhibiting artistic material, (art specialist perspective), and from an art education point of view, its potential for meaningful engagement with art. As part of the activities in Task 3.3 we performed the summative user evaluation study to evaluate the adaptation of the implemented final version of CREAMS tools to the art exhibitions specific requirements. The study included expert stakeholders that tested the solution's effectiveness from the perspective of system integrity (technological approach), the aptitude for exhibiting artistic material, (art specialist perspective), and CREAMS platform potential for meaningful engagement with art (art education point of view). In addition, user evaluation studies recruited users from the partner HEIs to receive user feedback (e.g., art students, instructors, etc). Project Results (PR4): Course and Training Material Development on Virtual Exhibitions for Art Students. The training material included practical design, implementation, and integration guidelines about virtual exhibition technologies. The purpose of PR4 was to design and develop multilingual courses and training material that directly address How, When, and Why art students or art professionals should engage in creating their own virtual exhibition. In addition, PR4 targeted the development of best practice guides that outlined the pros and cons of using diverse eXtended Reality (XR) technologies for deploying a virtual exhibition.Most of the developed material is freely available in four European languages through the online knowledge repository, which is accessible through the project's website. The main objectives were the following: a) design and develop course material for theoretical manifestation and empirical knowledge related to XR technologies in the art domain; b) design and develop best practices and training material in the context of different scenarios; c) design develop guidelines and training material related to how to personalize narratives of virtual exhibitions in order to increase the user experience of visitors. The work in PR4 was divided into three tasks throughout the project lifecycle. i) Task 4.1: Course Material for Instructors and Students. As part of our activities in Task 4.1, we produced course material including an introduction to the area of experience in virtual environments focusing on exhibitions analyzing the parameters that affect user acceptance, sense of presence, immersion, and engagement. We produced texts framing the introduction to such VR-related issues. Also, we addressed curatorial matters, creating in the process digital learning resources as an integral part of the CREAMS platform, supporting HEIs in training and dissemination of key skill-enhancing material. We structured the learning objectives according to scaffolding, incrementally strengthening students’ know-how through specially designed tasks and corresponding supporting material provided to students and instructors with teaching and learning activities along with tools and information to deliver their hands-on knowledge acquisition in creating VR exhibitions. These activities were based on heuristic learning by doing. Finally, course material includes PowerPoint presentations and digital material, e.g., videos with instructions under an educational philosophy based on students structuring their own paths to knowledge acquisition fostered by a robust framework so that they can adapt tools and methods to their own needs, individuality, and sensibilities thereby developing a personal use of VR exhibitions coextensive with and supportive of their artistic practice. ii) Task 4.2: Guides of Best Practices and Training Material for Instructors and ICT-related staff. As part of our activities in Task 4.2, we used the insight gained from the evaluation process and pilot application of the platform prototypes to build knowledge on how to optimize the use of VR exhibitions and how to train art students to adopt and adapt them as tools in their quests as well as a way of communicating and reframing their work. Based on this new knowledge, we produced a methodological framework about the exact technologies and approaches used for training. This methodological framework led to specific guidelines that streamline the employment of the CREAMS platform in HEIs, following a user-centered philosophy that allows for creative use of the capabilities gained through the skills acquired.We produced guides of best practices and training material for instructors and ICT-related staff making them available online and disseminating them through various channels such as publications and through the development and sharing of a knowledge repository through the project’s website. This corresponds with the project’s stated aim to create resources that are not coextensive with the project’s funding period but will have a positive contribution well beyond its formal conclusion. iii) Task 4.3: Material for ICT specialists and Software Engineers. As part of our activities in Task 4.3, we built a body of instructions and technological/methodological tools for software developers and ICT specialists in order to install, integrate and streamline the technological means that will underpin the platform, ensuring its functional integrity, as well as its openness and flexibility allowing for adaptations and fine-tuning depending on students, needs both on the level of training activities and in relation to the use proper of functionalities for creating the actual VR exhibitions. The approach followed for the creation of this material was based on explaining how software developers/ ICT specialists and system administrators could contribute to the contents, structure, and features of the platform in response to future requirements expressed by students and academics/researchers as well as HEI policymakers and other stakeholders. Project Result (PR5): Webinars for Training the Trainers on Virtual Exhibitions for Art Students. The education-related activities produced a repository of learning, teaching, and training material, including textual and digital course and training material, training webinars, hands-on tutorials, PowerPoint presentations, system demonstrations, teaching activities, best practices, and guidelines for system integration for a variety of HEI stakeholders. Overall, we conducted six webinar with at least twelve (12) participants in each session. We conducted two webinars for students (23-5-2023 and 21-5-2024) , two webinars for instructors (31-5-2023 and 28-5-2024), one webinar for ICT-specialists (27-11-2024) and one webinar for policy-makers (28-1-2025). The main objectives were the following: a) to train identified trainers and instructors of HEIs taking part in the project to professionally apply methods and techniques for advancing and optimizing the use of VR exhibitions and pertinent emerging technologies to promote arts-led research and its dissemination within HEIs; b) to introduce software developers and engineers through guidelines and hands-on tutorials on the design, implementation, and setup of relevant to VR exhibitions technologies as well as on ways of supporting the pertinent training of art students through existing as well as new ICT infrastructure; c) to create a public repository of training materials for use in the dissemination and sustainability actions. The work in R5 was divided into three tasks throughout the project lifecycle. All the tasks were performed: i) Task 5.1: Training Webinars on Conceptual Aspects of Virtual Reality, a means to engage with the arts and relevant effects for VR exhibition design. This task aimed to create training webinars with focus on optimizing the use of VR exhibitions within HEIs. ii) Task 5.2: Hands-on Practice on Creating VR Exhibitions. This task aimed to create guidelines and hands-on tutorials focused on designing, implementing, setting up, and curating VR exhibition Interfaces. The target audiences were academics/artists in Art Schools, who train art students, as well as software developers and engineers, who gained new insights related to building, testing, and deploying such technologies within HEIs on the basis of a better understanding of the specific needs and intentions of art students. iii) Task 5.3: Internationalization of Webinars. The CREAMS webinars proved to be an essential element in training educators, students, and software professionals, equipping them with the necessary skills to engage with VR, AR, and mixed reality exhibition technologies. By offering these materials in multiple European languages, the project has successfully expanded its reach and ensured accessibility, fostering a wide-scale impact beyond the immediate consortium. Through careful planning and execution, CREAMS has established a legacy of innovation within arts education, providing tools that enhance creative expression while embracing the potential of digital transformation. The open source CREAMS platform, the methodologies, resources, and insights developed throughout this initiative will serve as a blueprint for future projects, ensuring continued growth and application of virtual exhibition technologies in education and beyond. The CREAMS Moodle course (can be accessed via: https://online.shenkar.ac.il/course/view.php?id=11249 or via https://creams-project.eu) was organized into distinct sections, each corresponding to specific aspects of digital curation and the creation of virtual exhibitions. The CREAMS Moodle platform was designed to support digital curation and Platform training through various features that enhance the learning experience: a) Document and Media Sharing: Users can access and download materials such as PDF guides, PowerPoint presentations, and video tutorials. b) Multilingual Support: The Moodle platform offers content in multiple languages, ensuring accessibility to a diverse audience and to all participating partners in the project. The user manuals and training materials are available in English, Hebrew, Greek, and Norwegian, ensuring broader accessibility for participants across different linguistic backgrounds. The Moodle LMS served as a central hub for the CREAMS project, offering a structured and interactive space for training the next generation of art curators in the digital realm. Through its integration of webinars, video resources, and interactive learning tools, the platform supported the project’s mission of fostering creativity and technological proficiency among art students.