This study examines how the visual presentation of culturally creative desserts (CCDs), modelled after Chinese museum artefacts, relates to potential visitors' visit-related behavioural intention under first-exposure, image-mediated conditions. Drawing on the AIDA model, this study develops a four-stage framework (VCVB: perceived Visual Attention, Curiosity, Visit Motivation, Behavioural Intention) to examine whether visual attention is directly associated with visit motivation in visually mediated museum contexts. A survey using image-based stimuli was conducted with 205 respondents and analysed using Partial Least Squares Structural Equation Modelling (PLS-SEM). The results reveal an indirect-only pattern: perceived visual attention is positively related to curiosity, curiosity to visit motivation, and visit motivation to behavioural intention, whereas the direct association between visual attention and visit motivation is not significant. These findings indicate that the commonly assumed direct association between visual attention and motivational orientation does not hold under first-exposure, image-mediated conditions. Instead, visual attention operates indirectly through epistemic curiosity and visit motivation, suggesting that visually driven attention alone is insufficient to generate visit-related intention.

Creating a digital 3D model of museum artefacts has been a common practice for many years. Such models can be used for archiving, research, and marketing purposes, as well as to counteract various types of exclusion. A digital copy created using professional 3D scanners using 3D structured-light scanning (3D SLS) or terrestrial laser scanning technology requires expensive equipment, specialised software for postprocessing, and a trained team. The introduction of mobile phones with Light Detection and Ranging (LiDAR) sensors and the development of appropriate open-access software have enabled the use of phones to generate digital 3D models. This study compares the quality of 3D models created with 3D SLS and mobile LiDAR technologies using three identical small museum artefacts from the Silk Road area of the Samarkand State University museum in Uzbekistan. They were digitised in 2017 and 2025. The results indicate that digital 3D models generated with an iPhone 16 PRO MAX device using Scaniverse LiDAR software are incomplete and thus less versatile. Therefore, they cannot serve as archival models. Their accuracy and quality (mesh density, size, and texture quality), as well as the speed of generating 3D models, make them ideal for marketing purposes and digital tourism.

The article examines the main directions of traditional processing and use of natural leather in the Adjara region.The study is based on written sources, ethnographic descriptions, and artifacts preserved in the museums of Batumi, Kobuleti, and Batumi.It describes traditional methods of leather acquisition and tanning, the types of raw materials used, and their applications in the production of footwear, household items, equestrian equipment, and musical instruments.Special attention is given to the organoleptic assessment of the natural leather properties of museum artifacts, which revealed degradation processes caused by the passage of time.The research confirms that leather products in Adjara served not only practical purposes but also possessed significant cultural and ethnographic value.

Standard 3D Gaussian Splatting (3DGS) relies on multi-view images, creating a barrier for museum artifacts archived only as colored point clouds without corresponding registered images. We propose a 3DGS paradigm that operates directly on colored point clouds, enabling high-fidelity reconstruction independent of external image sets. Our approach is guided by dual priors. First, a feature-aware sampling algorithm constructs a precise geometric prior with absolute scale from the input point cloud, serving as the geometric foundation. Second, an ideal visual prior provides supervision by generating synthetic views from the point cloud, which are then refined using an enhancement chain that includes anti-aliasing and super-resolution. Experiments on public and self-built datasets validate our method’s superior rendering quality, achieving a significant PSNR improvement of 3.25 dB over the baseline method on our self-built dataset. The proposed framework thus offers an innovative and robust pipeline for effectively leveraging vast archives of existing 3D scan data.

Abstract Over a decade ago, I collected a coincidence mixer from a 1960s cosmic ray observatory in Inuvik, Northwest Territories. As a museum artifact, the mixer reveals an evolving approach to scientific instruments as part of, and gaining new meaning and value within complex material, archival, digital, geographic, and social relations. This electronic instrument carries a material culture from cyclotrons, atmospheric science, cosmic rays, and electronics in post-Second World War Canada. However, the mixer was also located on Indigenous Gwich’in and Inuvialuit territory, an understudied and increasingly relevant part of its biography. In this paper, I explore these dynamic connections within the mixer’s material culture and biographical journey. Through this kind of research at the material and social levels, we encounter a changing conception of scientific instruments as vessels in a sea of relations, and what this means for instrument studies, collection databases, and research in science museums.

The article examines student educational translation practice as an essential stage of future professional training, facilitating the practical reinforcement of knowledge gained through the English Language Practice course. The research objective is to substantiate the appropriateness of implementing research-based student projects and developing methodological approaches for shaping the lexical and sociocultural competence of future translators based on the historical and cultural material of the Chernihiv region. The author of the article proposes a series of research projects on the topic ‘Clothing of different eras in the Chernihiv region,’ which combines linguistic, cultural, historical, and translation aspects. The study validates the effectiveness of using local cultural heritage as a source of vocabulary and a tool for developing sociocultural competence. The article outlines a step-by-step model for organising educational translation practice, including preparatory, main and final stages with relevant activities: compiling a thematic glossary, searching for English equivalents of Ukrainian costume terms, describing museum artefacts, and creating Multimedia presentations. Special attention is given to the collections of the Chernihiv Regional Historical and Art Museums as sources of material for working with specialised vocabulary. The project experience enables students not only to consolidate their language knowledge but also to develop academic research skills, information analysis and synthesis, visual description, and translation of culturally marked concepts. The article also highlights future research perspectives in the area of interdisciplinary integration within philological internship programmes, particularly by expanding the range of research topics.

Enhancing seismic resilience of museum artifacts: experimental response assessment of base isolated freestanding assets

Cultural preservation among younger generations faces increasing challenges due to globalization and rapid technological change. One example is the declining awareness of the Gowa Kingdom’s heritage in South Sulawesi, Indonesia. The Balla Lompoa Museum still relies on conventional exhibitions that are less engaging for digital-native audiences. This study presents ReplikaGO, an Augmented Reality (AR) application using Vuforia Model Target technology to visualize museum artifacts in 3D and integrate gamification elements such as interactive puzzles and educational quizzes. Developed using a User-Centered Design (UCD) approach, the system focuses on usability and learning engagement. Three main artifacts—Gendang, Sarung, and Keris Tatarapang—are presented in immersive AR form. User testing with seven participants shows that ReplikaGO offers a more engaging and enjoyable cultural learning experience. Qualitative feedback indicates improved understanding of artifact meanings after interaction. These results suggest that AR combined with gamification has strong potential for digital heritage education and youth-oriented cultural preservation.

This paper explores museum artifacts from the Timurid period as invaluable linguistic archives, moving beyond traditional historical and artistic interpretations to unveil hidden narratives about past societies. It argues that the linguistic data embedded in inscriptions, manuscripts, coins, and architectural texts offer profound insights into language use, communication practices, and cultural nuances of the Timurid Empire. This paper demonstrates, based on detailed linguistic analysis of a selection of artifacts, that they served as an active repository that both conveyed political power, religious beliefs, kinship systems, and social life. For instance, Persian inscriptions on jugs and ewers underscore artistic expression and imperial authority, while Arabic inscriptions on finger-ring seals and coins highlight religious piety and political legitimacy, blending Mongol traditions with Islamic values. Manuscripts and paintings further illustrate Persian as the dominant literary language and the mechanisms of intellectual and cultural exchange. The article also highlights some issues that can be challenging for linguists when collecting data from museum artefacts, such as text fragmentation and language opacity, particularly in a multilingual environment. To overcome these challenges, this review also proposes methodological approaches, including comparative linguistics, digital epigraphy, and contextual study, to address these challenges. With the robust technology and multidimensional approach, some challenges can be overcome and valuable resources can be provided for further linguistic analysis. This cross-disciplinary initiative transforms objects as vibrant forms of knowing through which one can access a fuller account of the workings of language as an intellectual technology in building and shaping lived experience, values, and power relations in Timurid society, providing productive insights into the ways in which language acts upon culture to advance or undermine social cohesion.

This study explores the potential of human-AI collaboration in generating graph-based descriptions of artifacts in museums. We implemented an AI system that automatically transforms textual descriptions into graph-based representations by fine-tuning a general-purpose language model on a museum dataset and designing an ontology for artifacts. A user study conducted with curators as experts and lay users such as visitors demonstrates the quality and user satisfaction of the graphs generated by the collaboration of AI and a human expert. The results of our study demonstrate that AI is highly effective in extracting detailed and reliable information from textual descriptions. However, human experts play a crucial role in refining the AI-generated graphs, thereby enhancing both the accuracy and readability. Human-AI collaboration even promotes greater consistency across graphs designed by different experts, effectively satisfying diverse user preferences. This research presents a scalable and engaging solution for graphical museum artifact descriptions and a deeper understanding of human-AI collaboration, particularly within the domain of cultural heritage information delivery.

Cultural heritage preservation has garnered global attention. Museum artifact classification, a core task, faces challenges related to insufficient multimodal information collaboration and a scarcity of high-quality annotated data. Traditional methods and single-modality deep learning models struggle to achieve both efficiency and accuracy. To address this, this paper proposes a museum artifact classification model (VBG Model) based on cross-modal attention fusion and generative data augmentation. This model constructs an integrated multimodal framework through task-oriented refactoring of the Vision Transformer (ViT), BERT, and a Generative Adversarial Network (GAN). ViT extracts global visual features from artifact images, while BERT mines the historical and cultural semantics of text. A bidirectional interactive attention fusion layer achieves precise feature alignment. The GAN generates diverse samples, forming a closed “generation-feedback-optimization” loop to alleviate data scarcity. Experiments on the MET and MS COCO datasets demonstrate exceptional performance: the VBG Model achieves 92% classification accuracy, 0.85 mAP, and 88% F1 score for the former, while the latter achieves 90% accuracy, 0.83 mAP, and 86% F1 score for the latter. These performance indicators outperform competing models such as ResNet and DenseNet. Ablation experiments confirm that cross-modal fusion and generative data augmentation modules are essential; removing either module results in a 5%-9% drop in accuracy. The current model still has room for improvement in terms of training time and generated image quality. Future work will focus on optimizing performance through lightweight design and multi-scale fusion, enhancing the ability to distinguish similar artifacts and providing technical support for digital artifact management and cultural heritage preservation.

In 2022, fragments of hand-held firearms were discovered at the site of the castle of the Ciołek family in Żelechów, Garwolin County, Masovian Voivodeship. Based on the craftsmanship, analogies known from the literature, and museum artefacts, it can be assumed that these were elements of a 16th-century hackbut. They most likely originated from a single barrel, which was damaged during use. Metallurgical analyses have shown that the barrel was forged from iron. A formal analysis allowed for a graphical reconstruction of its original form.

The aim of this study is to identify the main stages in the formation of the ethnographic collection pertaining to Tatars at one of Western Siberia’s oldest museums – the Tobolsk Historical and Architectural Museum-Reserve. Museum artifacts, as vital historical sources, contain information whose significance is highlighted when examining how and under what circumstances they entered museum collections. Despite the unique nature and importance of the Tobolsk Museum’s ethnographic collection, the history of its development has been insufficiently explored in academic literature. The scientific novelty of this research lies in its pioneering examination of the history of the Tobolsk Museum’s ethnographic collection acquisition pertaining to Siberian Tatars, identifying the factors that influenced its formation. This work will contribute to a more comprehensive understanding of both the ethnic history of one of the indigenous peoples of the West Siberian region and the history of the Tobolsk Museum itself.

Throughout the Cold War, members of the Scottish Campaign for Nuclear Disarmament utilized ephemera and material culture as tools to share their concerns about the placement of nuclear weapons and power stations in Scotland. These creative ‘disobedient objects’ offer rich symbolic insights into the organization and issues being championed in this period. One lifelong Scottish campaigner, Kristin Barrett, donated her personal collection of protest material to National Museums Scotland in the early 2000s. This collection includes an array of leaflets, posters, stickers, badges, and small items such as an improvised rattle bottle. By exploring the object biographies of this ephemera, we can see the transformation in meaning from everyday products to protest objects and finally to museum artefacts. This paper emphasizes the value of ephemeral collections which provide an alternative view to accepted narratives of the Cold War period.

This study explores the educational potential of the Bumiayu Archaeological Museum as a medium for contextual learning in Islamic Studies. The museum houses a diverse collection of artifacts spanning prehistoric times, Hindu-Buddhist periods, and early Islamic eras, representing dynamic traces of local civilization. Employing a qualitative approach through an exploratory case study design, data were collected via observation, in-depth interviews, and documentation, then analyzed thematically. The findings reveal that the museum's artifacts possess historical, spiritual, and pedagogical values that can be harnessed to strengthen Islamic historical literacy and foster contextual understanding of Islamic teachings. The museum functions as an active learning laboratory, enabling students to comprehend relationships between Islamic texts and local historical-cultural contexts. Integrating the museum into a Contextual Teaching and Learning (CTL) framework proves effective in cultivating reflective, critical, and moderate attitudes toward understanding Islamic teachings among students.

The article is devoted to the study of one of the "Chinese styles" in Japanese ceramics and porcelain in 18–20th centuries based on samples from the State Museum of Oriental Art, specifically objects with overglaze narrative paintings against a red enamel background. By examining works by two prominent Japanese ceramicists – Ogata Kenzan and Aoki Mokubei – the reasons for their turn towards continental models at different times are investigated, identifying prototypes that served as the basis for Chinese style. The decorative techniques used in creating items with red backgrounds are analyzed within various authorial interpretations, along with the sources of the painted motifs. Based on this analysis, general principles of stylistic formation and stylistic changes within a single type of ceramics are identified, clarifying the attribution of museum artifacts.

Limited access to information and interaction with artifacts in museums often hinders visitors from gaining a deeper understanding of the culture and historical context presented. This study addresses this challenge by developing a three-dimensional (3D) augmented reality (AR)-based interactive museum that enhances the museum visitor experience through an intuitive user interface (UI) and enriched content related to the exhibited artifacts. This study explores the potential of 3D AR technology in enhancing visitor engagement and interaction with museum exhibits, providing a more immersive and informative experience. This study uses the multimedia development life cycle (MDLC) as a framework to develop a 3D AR-based interactive museum. By applying the MDLC approach, this study integrates advanced AR technology with comprehensive and detailed content, resulting in a structured and user-centered interactive platform. Key benefits of this approach include enhanced interactivity, enriched artifact information, and an intuitive interface that facilitates easier access to museum content. The findings indicate that the developed interactive museum successfully overcomes the barriers of limited accessibility of information and interaction with artifacts. Through the application of advanced AR technology, the museum visitor experience is significantly enhanced, making the museum more inclusive, interactive, and educative for visitors.

Abstract. How can a closed museum continue to tell stories, share knowledge, and strengthen community identity? This paper presents an interactive, gamified virtual tour designed to enhance both the tangible and intangible heritage of Tuscan rural life, preserved in the Museo della Civiltà Contadina - Casa del Guidi in Sesto Fiorentino. Developed as part of the T-PLACE project, the experience makes use of 360° panoramic images, 3D models, and oral testimonies to offer an immersive, web-accessible journey. The tour is based on the ADDIE instructional design model and incorporates gamification strategies inspired by the ARCS model. It is structured around two modes: a free, exploratory path, and an educational mode entitled The Guardian of Traditions. The latter engages users through adaptive quizzes and branching scenarios, encouraging active learning and critical reflection. The voices of local elders, reinterpreted and associated with museum artefacts, reinforce the connection between memory and knowledge, fostering the intergenerational transmission of traditional know-how. Compatible with multiple devices and enhanced by accessibility features such as automatic text-to-speech, the project offers a replicable model for small cultural institutions. It demonstrates how immersive technologies can support new forms of engagement, participation, and heritage preservation.

Abstract. Museum collections are frequently standardized, resulting in the loss of their original regional and cultural contexts. In response, National Folk Museum of Korea (NFMK) established Folklife Archive to preserve and reconstruct these unique contextual elements. This article examines how Folklife Archive restores the original meanings of museum artifacts, such as associated practices, memories, traditions, and facilitates their communication to the public. The article reviews relevant literature on the evolving role of Folklife Archive in enriching collections and supporting research. It then presents three core case studies from NFMK: a special exhibition featuring the Kim Su-nam photographic archive; interactive experiences at Folklife Archive Information Centre in NFMK Paju; and educational programs based on traditional seasonal events. The digital archiving process, including systematic collection, metadata registration, and the implementation of Folklife Archive Management System, is also discussed. Efforts to integrate archive and collection data, despite system separation and technical constraints are illustrated through the use of public information terminals. Lastly, the article addresses ongoing efforts to promote shared use of archival databases among regional museums. Although challenges remain in harmonizing classification systems, the article emphasizes the need for user-centred digital platforms that support both institutional diversity and international accessibility.

Seismic risk assessment method for museum artifacts based on the Naive Bayesian mode l