XR in het museum: hype of heilige graal?
Musea veranderen. Waar je vroeger stil moest zijn en niets mocht aanraken, nodigen ze je nu steeds vaker uit om midden in een kunstwerk te stappen. In een wereld vol schermen en digitale prikkels staan musea voor een uitdaging: hoe blijven ze relevant? Steeds vaker kijken ze naar extended reality (XR): de verzamelnaam voor virtual reality (VR), augmented reality (AR) en mixed reality (MR).
Maar maakt XR een museumbezoek écht beter, of zijn ze vooral een hip speeltje dat straks in de kast belandt? In mijn onderzoek geef ik een raamwerk om de meerwaarde van XR in musea kwalitatief te beoordelen, en test ik dat met een werkende XR-case in het MSK Gent.
Technologie zet alles op z’n kop
Nieuwe technologie zorgt bijna altijd voor onrust. Toen fotografie in de 19de eeuw opkwam, dachten sommigen dat schilderkunst zijn waarde zou verliezen. Dat bleek niet zo. Fotografie veranderde hoe we herinneringen vastleggen en vormt vandaag de basis van sociale media.
Iets soortgelijks gebeurt nu met XR. Het biedt kansen om kunst en geschiedenis anders te beleven, maar roept tegelijk vragen op. Hoe voorkom je dat technologie de kunst overstemt? Hoe ga je om met digitale replica’s zonder authenticiteit te verliezen? En vooral: hoe maak je de ervaring écht waardevoller?
Van passief kijken naar actieve beleving
Eeuwenlang ging een museumbezoek zo: schilderij bekijken, tekstje lezen, doorlopen. Vandaag willen bezoekers méér. Ze willen geraakt worden, iets ervaren, zelf deel uitmaken van het verhaal.
Daar kan XR bij helpen. Denk aan VR waarbij je door ruïnes van een antieke stad wandelt, of AR die via je telefoon context toevoegt bij een schilderij. Tijdens de coronapandemie maakte XR het mogelijk om vanuit je woonkamer virtueel een museumzaal binnen te stappen.
Toch loeren valkuilen. Slecht uitgevoerde XR-toepassingen leveren spektakel zonder inhoud. Soms is XR zelfs overbodig: een interactieve touchtafel kan in sommige gevallen meer waarde bieden dan een logge VR-headset. Bovendien is nog weinig onderzocht of XR in musea daadwerkelijk het leren en de betrokkenheid vergroot.
XR opent deuren
Toegankelijkheid gaat verder dan rolstoelhellingen en liften. XR kan deuren openen voor wie een fysieke beperking heeft, neurodivers is, een taalbarrière ervaart of simpelweg te ver van een museum woont.
Ook jongeren, die vaak moeilijk naar musea te krijgen zijn, kunnen via XR makkelijker aansluiting vinden. Digitale belevingen sluiten beter aan bij hun leefwereld. Daarnaast doorbreekt XR geografische grenzen: virtuele rondleidingen maken erfgoed toegankelijk voor wie niet kan reizen, en digitale reconstructies tonen plekken die te kwetsbaar of gevaarlijk zijn om te bezoeken. Zo beschermt XR tegelijk het origineel tegen slijtage.
Leren door mee te doen
Een groot pluspunt van XR is de verschuiving van toeschouwer naar deelnemer. Via interactieve scenario’s, spelvormen en meeslepende storytelling leren bezoekers actiever en onthouden ze meer.
Maar dat werkt alleen als XR goed ontworpen is. Fantasie mag, maar de feiten moeten kloppen. En de ervaring moet voor iedereen toegankelijk zijn: van gamers tot grootouders die nog nooit een VR-bril hebben opgezet. Testen en feedback verzamelen zijn daarom cruciaal.
Als het weer kunst verandert
Een voorbeeld is Actual Day, een pop-upinstallatie in het MSK Gent. Van 4 december 2023 tot 8 januari 2024 konden bezoekers ervaren hoe XR klassieke kunst nieuw leven inblaast.
Het vertrekpunt was Zonnige dag van Emile Claus, meester van het luminisme. Actual Day voegde daar iets bijzonders aan toe: AI-gestuurde animaties lieten het schilderij realtime meebewegen met het weer buiten. Regent het in Gent? Dan regent het ook in het werk. Sneewt het? Dan zag je Claus’ werk langzaam bedekt raken onder sneeuw.
Zo versmolten kunst en natuur. Bezoekers zagen niet langer een statisch schilderij, maar een levende interpretatie van hun eigen dag.
De installatie, ontwikkeld door mij en medestudenten, maakte indruk. Bezoekers gaven aan dat ze Claus’ werk beter begrepen en zich er emotioneel sterker mee verbonden voelden. Sommigen bleven langer kijken dan ze normaal zouden doen. Ouders gebruikten de bewegende beelden en geluiden zelfs om in gesprek te gaan met hun kinderen.
Opvallend was ook dat mensen terug wilden komen om het schilderij bij ander weer opnieuw te beleven. XR bleek dus niet alleen een manier om kunst te verdiepen, maar ook om herhaalbezoek te stimuleren.
Het project laat zien hoe krachtig XR kan zijn, maar ook hoe belangrijk gebruikersfeedback en co-creatie zijn. XR werkt pas echt wanneer bezoekers vanaf het begin meedenken en mee-ontwerpen.
Publiek als medemaker
XR in musea staat nog in zijn kinderschoenen. Toch weten we nog weinig over hoe bezoekers zulke ervaringen écht beleven. Traditionele enquêtes vragen vaak naar leeftijd of herkomst, maar die cijfers dekken niet de complexiteit van een museumbezoek.
Willen musea het volle potentieel van XR benutten, dan moeten ze dieper graven. Wat motiveert bezoekers? Hoe gedragen ze zich tijdens een XR-ervaring? Wat hebben ze nodig om zich verbonden te voelen met kunst en erfgoed?
Door niet te blijven hangen bij oppervlakkige cijfers, kunnen musea XR inzetten op een manier die persoonlijk raakt. Zo ontstaan diepere verbindingen tussen mensen en de verhalen die musea willen vertellen.
De keerzijde van de medaille
XR klinkt veelbelovend, maar het is geen wondermiddel. Het ontwikkelen en onderhouden van XR-installaties is duur. Technologie veroudert snel, en er zijn ethische vragen rond privacy en dataverzameling.
Bovendien kan XR verkeerd gebruikt worden. Soms wordt het ingezet als visueel trucje, zonder inhoud. In dat geval kan het juist afstand scheppen tussen bezoeker en kunst.
Toekomstvisie
Musea staan voor een keuze: zien ze XR als doel op zich, of als middel om bezoekers te lokken met spektakel?
Wanneer technologie wordt gekoppeld aan mensgerichte ontwerpprincipes en maatschappelijke relevantie, kan XR uitgroeien tot meer dan een hype. Het proof of concept in het MSK bewees dat XR echt verschil kan maken: het vervaagt de grens tussen bezoeker en object, maakt verborgen verhalen zichtbaar en democratiseert erfgoed.
Zo kunnen musea evolueren tot plekken die niet alleen innovatief zijn, maar ook empathisch en inclusief. Plekken waar kunst niet alleen bekeken wordt, maar echt beleefd. En dat door alle leeftijden heen.
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Thesis or Dissertation
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Virtual Conferences
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Chan, Hester, and Markus Lanxinger. “Unboxing Marcel Duchamp’s Boite-en-Valise in 3D.” Digital Summit 2024. MuseumNext. Virtual Conference, March 25, 2024. https://museumnext.mn.co/posts/digital-summit-2024-unboxing-marcel-duchamps-boite-en-valise-in-3d.
Cojocaru, Andreea Ion. “Truth vs Fiction in Narrative XR for Museums.” Museum XR Summit 2024. MuseumNext. Virtual Conference, June 26, 2024. https://museumnext.mn.co/posts/museum-xr-summit-truth-vs-fiction-in-narrative-xr-for-museums.
Edström, Fredrik. “Memories of Mexico – A Gamified History Lesson.” Museum XR Summit 2024. MuseumNext. Virtual Conference, June 26, 2024. https://museumnext.mn.co/posts/museum-xr-summit-memories-of-mexico-a-gamified-history-lesson.
Rmeily, Rana. “Ephesus Experience Museum: Immersive Histories for Today’s Audiences.” Museum XR Summit 2024. MuseumNext. Virtual Conference, June 26, 2024. https://museumnext.mn.co/posts/museum-xr-summit-ephesus-experience-museum-immersive-histories-for-todays-audiences.
Rossi, Vincent. “A Vision for an XR Future.” Museum XR Summit 2024. MuseumNext. Virtual Conference, June 26, 2024. https://museumnext.mn.co/posts/museum-xr-summit-a-vision-for-an-xr-future.
Teffer, Nicola, and Scott Cotterell. “Reality Check: Producing a Scalable and Cost Effective XR Museum Experience.” Museum XR Summit 2024. MuseumNext. Virtual Conference, June 26, 2024. https://museumnext.mn.co/posts/museum-xr-summit-reality-check-producing-a-scalable-and-cost-effective-xr-museum-experience.
VR Games and Online Exhibitions
M+ Online Exhibition. “Marcel Duchamp: Lessons for a Creative Life from Box in a Valise.” Accessed January 4, 2025. https://duchamp.mplus.org.hk/en.
Steam. “Dry Visit – Virtual Underwater Visit – iMARECulture.” Education. Accessed December 28, 2024. https://store.steampowered.com/app/1242830/Dry_Visit__Virtual_Underwater_Visit__iMARECulture/.
Steam. “Roald Amundsen’s House.” Education. Accessed December 28, 2024. https://store.steampowered.com/app/1435700/Roald_Amundsens_House/?beta=0.
Web Pages
Adobe. “After Effects.” Products. Accessed January 2, 2025. https://www.adobe.com/be_en/products/aftereffects.html.
Alfavision. “About.” Accessed December 24, 2024. https://www.alfavision.be/about.
Atelier Brückner. “Atelier.” Accessed December 13, 2024. https://www.atelier-brueckner.com/en/atelier.
Blender. “The Freedom to Create.” About. Accessed January 5, 2025. https://www.blender.org/about/.
DEM Museums. “Ephesus Experience Museum.” Museums. Accessed December 13, 2024. https://www.demmuseums.com/museums/ephesus-experience-museum/.
FAMSF. “Fashioning San Francisco: A Century of Style.” Exhibitions. Accessed December 29, 2024. https://www.famsf.org/exhibitions/fashioning-san-francisco#about.
Ghent University. “Ethics Approval – Points of Interests and Tips.” Accessed December 22, 2023. https://www.ugent.be/lw/en/about-us/organisation/councilsandcommittees/ethicscommittee/ethicsapprovaltips.htm.
Ghent University. “Ghent University Library.” Accessed December 3, 2024. https://lib.ugent.be/.
GitHub. “Packrat.” RStudio. Accessed January 5, 2025. https://rstudio.github.io/packrat/.
GitHub. “Smithsonian Cook.” Smithsonian. Accessed January 5, 2025. https://smithsonian.github.io/dpo-cook/.
GitHub. “Smithsonian Voyager.” Smithsonian. Accessed January 5, 2025. https://smithsonian.github.io/dpo-voyager/.
Glitch Studios. “Glitch Studios.” Accessed December 28, 2024. https://www.glitchstudios.co/.
Google. “Google Arts & Culture.” Accessed December 10, 2024. https://artsandculture.google.com/.
Google. “Google Scholar.” Accessed December 3, 2024. https://scholar.google.com/.
Google. “Winter Through Bruegel’s Eyes.” Cultural advent calendar. Accessed December 10, 2024. https://artsandculture.google.com/story/PwVx23r1GuwWIg.
iMARE Culture. “Dry Visit Baiae.” Accessed December 28, 2024. https://imareculture.eu/downloads/project-tools/dry-visit-baiae/.
Immersive Web. “WebXR.” Accessed January 5, 2025. https://immersiveweb.dev/.
International Council of Museums (ICOM). “Museum Definition.” Standards and guidelines. Last modified June 5, 2023. https://icom.museum/en/resources/standards-guidelines/museum-definition/.
The Khronos Group. “WebGL.” Accessed January 5, 2025. https://www.khronos.org/webgl/.
Litmaps. “Your Literature Review Assistant.” Accessed December 3, 2024. https://www.litmaps.com/.
Lucid Realities. “Lucid Realities Studio.” Accessed December 29, 2024. https://lucidrealities.studio/.
Marshmallow Laser Feast. “Information.” Accessed December 13, 2024. https://marshmallowlaserfeast.com/information/.
MeshLab. “MeshLab.” Accessed January 5, 2025. https://www.meshlab.net/.
Meta. “Health and safety warnings.” Quest Legal. Effective January 7, 2025. https://www.meta.com/be/en/legal/quest/health-and-safety-warnings/.
MiA. “Uranienborg.” Roald Amundsen’s House. Accessed December 28, 2024. https://amundsen.mia.no/en/uranienborg-2/.
MSK Ghent. “Restoration of the Ghent Altarpiece.” Exhibitions. Accessed December 13, 2024. https://www.mskgent.be/en/exhibitions/restoration-ghent-altarpiece.
MSK Ghent. “Sunny Day.” Search the collection. Accessed January 2, 2025. https://www.mskgent.be/en/collection/1904-X.
Musée d’Orsay. “Exposition Réalité virtuelle – La Palette de Van Gogh.” Expositions. Accessed December 29, 2024. https://www.musee-orsay.fr/fr/agenda/expositions/realite-virtuelle-la-palette-de-van-gogh.
Musée d’Orsay. “Exposition Van Gogh à Auvers-sur-Oise Les derniers mois.” Expositions. Accessed December 29, 2024. https://www.musee-orsay.fr/fr/agenda/expositions/van-gogh-auvers-sur-oise.
MuseumNext. “MuseumNext – Inspiring Online Learning for Museum Professionals.” Accessed December 2, 2024. https://www.museumnext.com/.
MuseumNext. “Museum XR Summit 2024 – Virtual Conference.” Events. Accessed December 2, 2024. https://www.museumnext.com/events/museum-xr-summit/.
Network of European Museum Organisations (NEMO). “Museums and AI Conference.” Our advocacy themes. Accessed October 30, 2024. https://www.ne-mo.org/advocacy/our-advocacy-themes/museums-and-ai-conference.
NUMENA. “NUMENA.” Accessed December 31, 2024. https://www.numena.de/.
OpenWeather. “Weather API.” Accessed October 30, 2024. https://openweathermap.org/api.
Parco Sommerso di Baia. “Villa a Protiro.” Visite Guidate. Accessed December 28, 2024. https://parcoarcheologicodibaia.it/index.php/en/visite-guidate/villa-protiro.
Posit. “Rstudio IDE.” Open Source. Accessed December 3, 2024. https://posit.co/products/open-source/rstudio/.
Processing. “Welcome to Processing!” Accessed October 30, 2024. https://processing.org/.
RealityCapture. “About Us.” Accessed January 4, 2025. https://www.capturingreality.com/About-Us.
Royal Institute for Cultural Heritage. “About the Royal Institute for Cultural Heritage (KIK-IRPA).” Accessed December 13, 2024. https://www.kikirpa.be/en/about-us.
RunwayML. “Advancing creativity with artificial intelligence.” Accessed January 2, 2025. https://runwayml.com/.
Shannon Selin. “Panoramas: 19th-Century Virtual Reality.” Last modified April 16, 2021. https://shannonselin.com/2016/11/panoramas-19th-century/.
Sint-Baafs Kathedraal Gent. “Lam Gods AR Tour.” Accessed December 3, 2024. https://www.sintbaafskathedraal.be/nl/lam-gods-ar-tour/.
Smithsonian. “About.” 3D Digitization. Accessed January 5, 2025. https://3d.si.edu/about.
Smithsonian. “How to Use the 3D Viewer.” 3D Digitization. Accessed January 5, 2025. https://3d.si.edu/how-use-3d-viewer.
Smithsonian. “Smithsonian Digital Asset Management System (DAMS).” Accessed January 5, 2025. https://www.si.edu/dams.
Snap Inc. “Snap Inc.” Accessed December 29, 2024. https://www.snap.com/.
Tripadvisor. “AI-portrait photo souvenir.” Things to Do in Amsterdam. Accessed January 3, 2025. https://www.tripadvisor.com/AttractionProductReview-g188590-d27800999-AI_portrait_photo_souvenir-Amsterdam_North_Holland_Province.html.
TSVP. “All About Us.” Accessed December 29, 2024. https://tsvp-prod.com/all-about-us/.
UNESCO. “Threats to the Underwater Cultural Heritage.” Underwater Cultural Heritage 2001 Convention. Last modified November 20, 2024. https://www.unesco.org/en/underwater-heritage/threats.
Unframed Collection. “About.” Accessed December 29, 2024. https://unframed-collection.com/en/about.
VIVE. “VIVE XR Elite.” Products. Accessed January 4, 2025. https://www.vive.com/us/product/vive-xr-elite/overview/.
VIVE Arts. “Home VIVE.” Accessed December 29, 2024. https://www.vivearts.com/.
World Health Organization. “Blindness and vision impairment.” Fact sheets. Last modified August 10, 2023. https://www.who.int/en/news-room/fact-sheets/detail/blindness-and-visual-impairment.
World Health Organization. “Deafness and Hearing Loss.” Fact sheets. Last modified February 2, 2024. https://www.who.int/en/news-room/fact-sheets/detail/deafness-and-hearing-loss/.
[DWAN] Digital Women’s Archive North. “[DWAN] Digital Women’s Archive North.” Last modified November 8, 2017. https://dwarchivenorth.wordpress.com/.
Other
Heilig, Morton L. “Sensorama Simulator.” United States Patent Office, patented August 28, 1962. https://web.opendrive.com/api/v1/download/file.json/Ml8xNTA4NjQyOTJf?temp_key=I%E9%EC%A2%B6%A6h%F6%ADz%7Biu&inline=1.
Heilig, Morton L. “Stereoscopic-Television Apparatus for Individual Use.” United States Patent Office, patented October 4, 1960. https://web.opendrive.com/api/v1/download/file.json/Ml8xNTA4NjQyNzVf?temp_key=M%E9%5E%B2%98%5E%AD%E3%1A%B2J%5D&inline=1.
Maes, Pieter-Jan. Technologie en Levend Erfgoed. PowerPoint presentation, Onderzoeksseminarie I, UGent, September 25, 2024.
Mannens, Hanne. “Visitor Feedback Questionnaire.” MSK Ghent. January 3-8, 2024.
Sacco, Pier Luigi. The Culture 3.0 paradigm. PowerPoint presentation, IULM University Milan, October 18, 2016. https://www.slideshare.net/slideshow/culture-paradigm-university-digital-humanities/68403150.
