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Virtual Reality: Immersive and Situated Art Education with 360-Degree Cameras and Augmented and Virtual Reality Technology

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Title: Virtual Reality: Immersive and Situated Art Education with 360-Degree Cameras and Augmented and Virtual Reality Technology
Language: English
Authors: Kwon, Hyunji (ORCID 0000-0001-6395-6980), Morrill, Kenneth
Source: Art Education. 2022 75(4):27-32.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 6
Publication Date: 2022
Document Type: Journal Articles
Reports - Descriptive
Descriptors: Computer Simulation, Art Education, Situated Learning, Photography, Technology Uses in Education
DOI: 10.1080/00043125.2022.2053458
ISSN: 0004-3125
2325-5161
Abstract: Due to the science, technology, engineering, and mathematics movement and the immersive aspects of virtual reality technology, the use of virtual reality in education has grown rapidly. In the field of art education, many researchers have demonstrated the potential of using digital art and virtual worlds. Based on how technology and convincing stories make virtual worlds more believable, the authors propose that immersion in virtual reality and situated learning are mutually beneficial. Kwon (a preservice art educator) is relatively new to virtual reality and has implemented this tool in her art methods and practicum course since 2019. Because she used virtual worlds that are readily available, her examples may be a good fit for beginner teachers. Morrill (a visual arts teacher in a science, technology, engineering, arts, and mathematics middle school) is more experienced and has used virtual reality technology to create new virtual worlds with his students since 2012. Morrill's examples with AR and VR may be suitable for art teachers familiar with the technology.
Abstractor: ERIC
Entry Date: 2022
Accession Number: EJ1356466
Database: ERIC
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  Value: <anid>AN0157868868;are01jul.22;2022Jul11.04:25;v2.2.500</anid> <title id="AN0157868868-1">Virtual Reality: Immersive and Situated Art Education With 360-Degree Cameras, and Augmented and Virtual Reality Technology </title> <sbt id="AN0157868868-2">What Is Virtual Reality?</sbt> <p>The authors use the umbrella term "virtual reality" to address three technologies: 360-degree cameras, augmented reality (AR), and virtual reality (VR). Virtual reality presents real or imaginary worlds and has been mainly used in entertainment (Lelyveld, [<reflink idref="bib9" id="ref1">9</reflink>]). 360-degree cameras capture photographs and videos in a spherical format that allows viewers to pan around the entire image or video in a 360-degree fashion. AR projects virtual elements such as text, images, and 3D objects onto the real world by using common devices such as tablets or phones (Panciroli et al., [<reflink idref="bib12" id="ref2">12</reflink>]). While 360-degree cameras document and AR interacts with the real world, VR provides a completely immersive experience in a virtual world using a head-mounted display (HMD), thereby shutting out the physical world (Freina & Ott, [<reflink idref="bib4" id="ref3">4</reflink>]). Some applications (e.g., Facebook, YouTube) and tools (e.g., Google Cardboard) support the viewing of 360-degree VR photographs and videos without HMD.</p> <hd id="AN0157868868-3">Virtual Reality in Education and Art Education</hd> <p>Due to the science, technology, engineering, and mathematics movement and the immersive aspects of virtual reality technology, the use of virtual reality in education has grown rapidly. A systematic review by Freina and Ott ([<reflink idref="bib4" id="ref4">4</reflink>]) revealed that 360-degree cameras, AR, and VR have been regularly used in higher education in the United Kingdom and United States for several subject areas that require safety and spatial understanding (e.g., paramedic, construction, computer science, engineering, and medicine). While not many K–12 examples of practice have been shared in academic journals (Freina & Ott, [<reflink idref="bib4" id="ref5">4</reflink>]), a few studies have identified the usefulness of VR in K–12 education (e.g., VR for children on the autism spectrum; Parsons & Cobb, [<reflink idref="bib13" id="ref6">13</reflink>]).</p> <p>In the field of art education, many researchers have demonstrated the potential of using digital art and virtual worlds: a second life in a virtual world (Y.-C. Huang & Han, [<reflink idref="bib7" id="ref7">7</reflink>]), creating and playing video games as a form of art education (Liao, [<reflink idref="bib10" id="ref8">10</reflink>]; Stokrocki, [<reflink idref="bib16" id="ref9">16</reflink>]), and linking information by using hypertext (Taylor, [<reflink idref="bib17" id="ref10">17</reflink>]). Moreover, Y. Huang et al. ([<reflink idref="bib6" id="ref11">6</reflink>]) introduced a case where kindergarteners in Hong Kong designed animated objects by using an AR application, Bäck et al. ([<reflink idref="bib1" id="ref12">1</reflink>]) experimented using an AR-based art history city guide with teachers, and McNamara ([<reflink idref="bib11" id="ref13">11</reflink>]) and Panciroli et al. ([<reflink idref="bib12" id="ref14">12</reflink>]) proposed the use of museum-created AR applications in art history education. Additionally, major art museums around the world have implemented virtual reality by utilizing 360-degree cameras based on their resources and association with tourism and education.[<reflink idref="bib1" id="ref15">1</reflink>]</p> <hd id="AN0157868868-4">Immersive and Situated Learning Through Virtual Reality</hd> <p>Immersion, or "a sense of being there" (Brown & Cairns, [<reflink idref="bib2" id="ref16">2</reflink>], as cited in Christopoulos et al., [<reflink idref="bib3" id="ref17">3</reflink>], p. 324), is central to virtual reality. Immersion has been defined as a technology "capable of delivering an inclusive, extensive, and vivid illusion of reality" (Slater & Wilbur, [<reflink idref="bib14" id="ref18">14</reflink>], p. 3), which further contributes to psychological and perceptual absorption. Technology is best used to support a convincing story, as exemplified by how one gamer described the immersion as a "Zen-like state where your hands just seem to know what to do, and your mind just seems to carry on with the story" (Brown & Cairns, [<reflink idref="bib2" id="ref19">2</reflink>], p. 1299). Based on how technology and convincing stories make virtual worlds more believable, the authors propose that immersion in virtual reality and situated learning are mutually beneficial.</p> <p>Since the early 1990s, situated learning has been widely accepted in education. Situated learning emphasizes that reflexive thinking for problem solving, a community of learners, and participation in learning (Stein, [<reflink idref="bib15" id="ref20">15</reflink>]) occurs when learning is grounded in social situations and contexts rather than abstraction (Lave & Wenger, [<reflink idref="bib8" id="ref21">8</reflink>]). Because virtual reality technology increases the sense of being in the task environment without a physical presence and performing actual activities, this technology enables a new application of situated learning. Additionally, the concept of situated learning contributes to the development and use of virtual reality technology for educational purposes beyond entertainment. With immersive and situated learning, learners can be in situations from the past, in other countries, or in completely novel situations while solving problems, constructing knowledge, and developing skills.</p> <hd id="AN0157868868-5">Practices of Using Virtual Reality in Art Education</hd> <p>Kwon (a preservice art educator) is relatively new to virtual reality and has implemented this tool in her art methods and practicum course since 2019. Because she used virtual worlds that are readily available, her examples may be a good fit for beginner teachers. Morrill (a visual arts teacher in a science, technology, engineering, arts, and mathematics middle school) is more experienced and has used virtual reality technology to create new virtual worlds with his students since 2012. Morrill's examples with AR and VR may be suitable for art teachers familiar with the technology.</p> <hd id="AN0157868868-6">360-Degree Cameras</hd> <p>As 360-degree cameras enable viewers to pan around an entire image or video and capture sound from different directions, they are considered phenomenal for recording performing arts (Lelyveld, [<reflink idref="bib9" id="ref22">9</reflink>]) and offering virtual tours.</p> <p>Morrill has used 360-degree virtual tours by taking advantage of freely accessible software, including Google Maps and Street View. When he taught about contemporary artist Banksy and his hotel in Palestine—the Walled Off Hotel, located next to a wall between Israel and Palestine within the West Bank—Morrill wanted to juxtapose the Walled Off Hotel with the luxurious Waldorf Astoria Hotel in New York City, after which Banksy's was named. He showed a virtual tour of the Waldorf Astoria on the classroom projector to let his students walk through the hotel to see its opulence, and then teleported students to the Walled Off Hotel by sharing 360-degree photographs taken by tourists. His example revealed how virtual tours could increase students' sense of being in certain places, which provides virtual interaction with and contextual understanding of artists' work (Figure 1).</p> <p>PHOTO (COLOR): Figure 1. Kenneth Morrill, Waldorf Hotel and Walled Off Hotel, 2020. Captured image from Google Earth. Used with permission.</p> <p>Walshe and Driver ([<reflink idref="bib18" id="ref23">18</reflink>]) suggested that student teachers use 360-degree videos to reflect on their teaching. Similarly, Kwon asked students to take 360-degree photos of their practicum mentor teacher's classroom, art supply closet, and hallways. Unlike hand- or digitally drawn classroom layout charts and regular or panoramic photographs, these spherically formatted photos taken by 360-degree cameras delivered a better sense of place by showing the ceiling, four walls, corners, and floor of each location. This stirred interesting discussions about the placement of art supplies, classroom layout, student seating, lighting, and the display of students' art and visual culture, all of which determine how a classroom functions as a site of pedagogy, or "third site pedagogy" (Wilson, [<reflink idref="bib19" id="ref24">19</reflink>], p. 6; Figure 2).</p> <p>PHOTO (COLOR): Figure 2. Alyssa Hayes and Deirdre Twohig, The Photograph of Mrs. Caryl Cathou's Classroom, 2020. Used with permission.</p> <p>In both cases, most students did not visit any of these places, except for those who took 360-degree photos of the school. Yet the use of 360-degree cameras in creating virtual worlds provided field experiences across space and distance. An increased sense of being in physical environments helps learners understand the importance of the specific contexts and situations that allow artists to create art and educators to teach art. As students are vicariously situated in the immersive roles of artists and art educators, they can become capable of adopting and pursuing similar practices as art creators or future educators in situations comparable to what they experienced via 360-degree cameras.</p> <hd id="AN0157868868-7">Augmented Reality</hd> <p>AR has been increasingly used both in entertainment and educational contexts due to AR technology projecting elements (e.g., text, images, 3D objects) onto the real world by using affordable devices (e.g., tablets, smartphones). While Kwon used the AR application Blippar, Morrill utilized SketchUp and SightSpace3D, which function as AR and VR applications. These applications are considered VR technology when used to create virtual images and AR when projecting those images onto the real world.</p> <p>Kwon used Blippar because it was free, user-friendly, and accessible. Kwon introduced the Blippar tool on the course website, and included a step-by-step guide to building AR applications and example works in her preservice art methods course. Kwon then required students to build a project based on a social issue using Blippar and hands-on artmaking. Two students, Savannah Ditty and Logan Ehney, developed an AR project calling for the protection of endangered species. Each student researched an animal at risk of extinction, painted a small portrait of the animal they chose, and embedded information in diverse formats (e.g., text, images, video, web links, maps, etc.) using the Blippar website. Because the free version of Blippar requires a code to activate and view the application, all students used the same code. When the Blippar application for tablets or smartphones is used to scan the animal's portrait with a preentered code, a layer of information is projected (Figure 3).</p> <p>PHOTO (COLOR): Figure 3. Emily Filaseta, Captured Image of AR Project, 2019. Used with permission.</p> <p>Morrill has used a wide variety of AR technology since 2012. At that time, middle school students were not familiar with AR, but they became increasingly interested in these projects. For example, when teaching about Frida Kahlo in 2012, he used the free online 3D modeling VR application SketchUp to model a museum. He placed JPEG images of Frida Kahlo's artworks in the museum, exported the museum as an SKP file (a 3D-model file created by SketchUp), and then opened the SKP file in SightSpace3D. When students activated SightSpace3D by using the tablet, they were able to walk through the 3D-modeled museum and view Kahlo's artworks life-size. Students arched their backs to view the artwork at a section of the museum dedicated to Diego Rivera's life-size mural (Figure 4).</p> <p>PHOTO (COLOR): Figure 4. Kenneth Morrill, A Virtual Exhibition of Frida Kahlo, 2020. Recreated image with SketchUp and SightSpace3D. Used with permission.</p> <p>In 2013, Morrill created a more advanced project around the idea of a future marketplace in 2065. His students used SightSpace3D to design logos, 3D models, and products that would be useful in a futuristic society. Students then virtually arranged and showcased these products, ranging from a rocket engine to a space hotel, enabling them to be viewable via iPads in the courtyard at the school. While the courtyard seemed empty to the unaided eye, the students' products were visible when the audience used geolocation-connected tablets and the SightSpace3D application to view the space (Figure 5).</p> <p>PHOTO (COLOR): Figure 5. Kenneth Morrill, ADLAB Tradeshow in the Year 2065, 2013. Screenshot image with SightSpace3D. Used with permission.</p> <p>While Kwon employed AR technology to project information about students' artworks, Morrill used AR to display life-size work by artists and students. Regardless of the level of technology involved, students were highly motivated by the stories (i.e., endangered animals, art exhibition, future marketplace) and the process of virtually displaying information and creating art. By creating a simulated environment, AR technology enabled students to engage in given situations or problems on a deeper level and personalize their experiences to resolve the issues involved. Thus, AR in art education not only promotes employing art skills to create art but also sustains students' interest in a project and improves their reflexive thinking and problem-solving skills, thereby diversifying their perspectives and approaches to art creation and appreciation.</p> <hd id="AN0157868868-8">Virtual Reality</hd> <p>Among virtual reality technologies, VR provides the most immersive experience within a virtual world by stimulating sensory experiences—particularly the visual, auditory, and proprioceptive senses (muscles and joints of the body). Although sensory experiences encourage the acquisition of information and learning, VR may be the least affordable and accessible due to the technology and devices required (i.e., HMD, remote controllers, computers built to work with VR technology).</p> <p>Due to her lack of experience with VR, Kwon was assisted by VR experts who worked in the teaching center at her institution. The experts visited her class with an Oculus Go (which functions without a computer), two HTC VIVE Pro headsets, and a computer that was optimized for those headsets. Kwon selected predesigned, educational, and social issues–based VR applications, including 6x9 (solitary confinement), The Stanford Ocean Acidification Experience (environmental pollution), and We Wait (Syrian refugees), with Testimony (sexual violence) being optional. Students experienced these VR worlds and were tasked with developing relevant unit plans. The experts' second visit to introduce VR artmaking applications (e.g., Tilt Brush, Gravity Sketch) was canceled due to the COVID-19 pandemic; thus, Kwon provided video tutorials instead. All of the mentioned VR applications can be used easily when teachers have the necessary devices.</p> <p>In the same context as raising social awareness in art education, Morrill mixed hands-on artmaking with AR and VR technologies. To promote sensitivity to the issue of homelessness, Morrill merged the making of a small-scale physical shelter with VR technology. Morrill first taught students how to use tools (e.g., power drill, saw, hammers, screwdrivers, wire strippers), after which they framed a microshelter and finished roofing a building. Students then used Tilt Brush, a VR application, for its variety of brushes, textures, and colors to add the details of the building (e.g., the inside walls, windows) and its surroundings. Morrill later placed a physical chair inside the shelter so that students could wear an HMD, open the virtual world they created using Tilt Brush, and sit inside the shelter and feel what it is like (Figure 6).</p> <p>PHOTO (COLOR): Figure 6. Kenneth Morrill, Micro Shelter for Homeless People, 2019. Recreated image with Tilt Brush. Used with permission.</p> <p>With the shared goal of learning about sociocultural issues through art, Kwon used virtual worlds that were readily available while Morrill created new virtual worlds. In both cases, advanced VR technology was combined with convincing and socioculturally related stories. Thus, the realness of the situations enabled students to learn about both issues and art creation in an immersive manner.</p> <p>Additionally, because these learning environments were not physical and "outside of what can be a psychologically stressful environment" (Gaskell, [<reflink idref="bib5" id="ref25">5</reflink>], para. 13), both authors witnessed an increase in self-awareness and a sense of reality among students that is relatively greater than the tension caused by the given situations. For example, Kwon's students recalled how the vicarious experiences of solitary confinement were meaningful but not distressing because they were aware that the experiences were only simulated and could be ended at any time. For Morrill's students, the experience of a limited space prompted an exchange of views on the meaning of possessions, the essentials of life, discomfort, and other issues related to homelessness (e.g., mental health). By interacting in and with simulated worlds, students had better experiences, gained clearer understandings, and empathized with various life circumstances in which marginalized populations are situated.</p> <hd id="AN0157868868-9">Suggestions for Art Educators</hd> <p>There are several additional points worth sharing that are valuable to art educators. First, students' familiarity with virtual reality technology has increased exponentially despite a gap among students and lack of artmaking experience with such technology. Morrill recalled how the reaction to learning about AR among middle school students in 2012 and 2020 differed significantly. Some students in more recent years seemed disinterested due to their daily use of games and chatting applications embedded with virtual reality technology. However, because students were more familiar with predesigned technology than creating new virtual worlds, they often became more involved in these projects gradually.</p> <p>Second, there is a disparity in familiarity with these technologies between teachers and students. If teachers do not have any prior experience with such technology, it is important to educate oneself with video tutorials and hands-on trials while utilizing the help of experts in schools and districts if available. The authors recommend that teachers begin with the most accessible projects (e.g., Google Earth, virtual art museum tours, 360-degree cameras, etc.) to intermediate projects that utilize readily available tools (e.g., Blippar, VR applications, etc.) prior to attempting advanced projects that create new virtual worlds (e.g., Tilt Brush, SketchUp, etc.). For these projects, continuously updating a step-by-step guide and employing one-on-one instruction as well as peer tutoring have proved useful for students. The fact that Morrill had difficulty recreating some figure images due to a few updated applications (i.e., SightSpace3D is now SightSpace Pro) that were no longer compatible with his current devices shows how important it is to keep technologies and instructions up-to-date for students. However, not all projects require expensive equipment, as Morrill used only one VR headset but projected scenes from the headset onto a large screen to share the VR experience with the entire class.</p> <hd id="AN0157868868-10">Implications for Art Education</hd> <p>The application of virtual reality technology alongside convincing stories creates the vivid illusion of reality, wherein students' immersive and situated learning occurs. Learning art becomes more immersive due to virtual reality facilitating the sense of being in places while personalizing and sustaining students' interest in given situations. Learning art becomes more situated from how the realness of virtual reality locates students in particular situations that promote their contextual understanding, reflexive thinking, and problem-solving skills. Integrating such technologies allows students to see, do, and learn how to create, appreciate, and teach art in imaginary yet realistic places and situations, as such experiences in a traditional learning environment are often limited.</p> <p>While convincing stories, engaging senses, increased interactions, and personalized experiences are important, virtual reality technology should be considered supplementary in creating meaningful art learning experiences. In other words, teachers should use this technology to incorporate broad contexts to diversify student experiences with art creation and appreciation, rather than using the technology for the sake of its novelty. Overall, the ability for virtual reality technology to expand our view of the world and enable the immersive and situated learning of art makes its use valuable in art education.[<reflink idref="bib2" id="ref26">2</reflink>]</p> <ref id="AN0157868868-11"> <title> References </title> <blist> <bibl id="bib1" idref="ref12" type="bt">1</bibl> <bibtext> Bäck, R., Plecher, D. A., Wenrich, R. Dorner, B., & Klinker, G. (2019). Mixed reality in art education. In R. Teather, Y. Itoh, J. Gabbard, F. Argelaguet, A.-H. Olivier, & D. Keefe (Eds.), Proceeding of 2019 IEEE Conference on Virtual Reality and 3D User Interfaces (VR) (pp. 1583 – 1587). Institute of Electrical and Electronics Engineers.</bibtext> </blist> <blist> <bibl id="bib2" idref="ref16" type="bt">2</bibl> <bibtext> Brown, E., & Cairns, P. (2004). A grounded investigation of game immersion. In Proceeding of CHI 2004 Conference on Human Factors in Computing Systems (pp. 1297 – 1300). Association for Computing Machinery.</bibtext> </blist> <blist> <bibl id="bib3" idref="ref17" type="bt">3</bibl> <bibtext> Christopoulos, A., Conrad, M., & Kanamgotov, A. (2017). Interaction in situated learning does not imply immersion: Virtual worlds help to engage learners without immersing them. In P. Escudeiro, G. Costagliola, S. Zvacek, J. Uhomoibhi, & B. M. McLaren (Eds.), Proceedings of the 9th International Conference on Computer Supported Education (CSEDU 2017) (Vol. 1, pp. 323 – 330). SCITEPRESS.</bibtext> </blist> <blist> <bibl id="bib4" idref="ref3" type="bt">4</bibl> <bibtext> Freina, L., & Ott, M. (2015, April 23–24). A literature review on immersive virtual reality in education: State of the art and perspectives [Paper presentation]. 11th International Conference eLearning and Software for Education, Bucharest, Romania.</bibtext> </blist> <blist> <bibl id="bib5" idref="ref25" type="bt">5</bibl> <bibtext> Gaskell, A. (2017, December 6). Using VR to help support teacher training. Huffington Post. https://<ulink href="http://www.huffpost.com/entry/using-vr-to-help-support-%5fb%5f10114136">www.huffpost.com/entry/using-vr-to-help-support-%5fb%5f10114136</ulink></bibtext> </blist> <blist> <bibl id="bib6" idref="ref11" type="bt">6</bibl> <bibtext> Huang, Y., Li, H., & Fong, R. (2016). Using augmented reality in early art education: A case study in Hong Kong kindergarten. Early Child Development and Care, 186 (6), 879 – 894.</bibtext> </blist> <blist> <bibl id="bib7" idref="ref7" type="bt">7</bibl> <bibtext> Huang Y.-C., & Han, S. R. (2014). An immersive virtual reality museum via Second Life. In C. Stephanidis (Ed.), HCI International 2014—Posters' Extended Abstracts (pp. 579 – 584). Springer.</bibtext> </blist> <blist> <bibl id="bib8" idref="ref21" type="bt">8</bibl> <bibtext> Lave, J., & Wenger, E. (1991). Situated learning: Legitimate peripheral participation. Cambridge University Press.</bibtext> </blist> <blist> <bibl id="bib9" idref="ref1" type="bt">9</bibl> <bibtext> Lelyveld, P. (2015, July). Virtual reality primer: With an emphasis on camera-captured VR. USC Entertainment Technology Center.</bibtext> </blist> <blist> <bibtext> Liao, C. (2017). Interactive fictional dialogue games as arts-based research. Visual Arts Research, 43 (1), 36 – 42.</bibtext> </blist> <blist> <bibtext> McNamara, A. M. (2011, December). Enhancing art history education through mobile augmented reality. VRCAI '11: Proceedings of the 10th International Conference on Virtual Reality Continuum and Its Applications in Industry, 507 – 512.</bibtext> </blist> <blist> <bibtext> Panciroli, C., Macauda, A., & Russo, V. (2017). Educating about art by augmented reality: New didactic mediation perspectives at school and in museums. Proceedings, 1 (9), Article 1107.</bibtext> </blist> <blist> <bibtext> Parsons, S., & Cobb, S. (2011). State-of-the-art of virtual reality technologies for children on the autism spectrum. European Journal of Special Needs Education, 26 (3), 355 – 366.</bibtext> </blist> <blist> <bibtext> Slater, M., & Wilbur, S. (1997). A framework for immersive virtual environments (FIVE): Speculations on the role of presence in virtual environments. Presence: Teleoperators and Virtual Environments, 6 (6), 603 – 616.</bibtext> </blist> <blist> <bibtext> Stein, D. (1998). Situated learning in adult education. ERIC Clearinghouse on Adult, Career, and Vocational Education.</bibtext> </blist> <blist> <bibtext> Stokrocki, M. (2013). Youth-created avatars, sites, and role-playing in the virtual game The Sims 2. Visual Arts Research, 39 (2), 28 – 41.</bibtext> </blist> <blist> <bibtext> Taylor, P. G. (2014). eLASTIC: Pulling and stretching what it means to learn, know, and assess art and educational progress. Studies in Art Education, 55 (2), 128 – 142.</bibtext> </blist> <blist> <bibtext> Walshe, N., & Driver, P. (2019, February). Developing reflective trainee teacher practice with 360-degree video. Teaching and Teacher Education, 78, 97 – 105.</bibtext> </blist> <blist> <bibtext> Wilson, B. G. (2008). Contemporary art, the best of art, and third-site pedagogy. Art Education, 61 (2), 6 – 9.</bibtext> </blist> </ref> <ref id="AN0157868868-12"> <title> Footnotes </title> <blist> <bibtext> This list is incomplete and a work in progress. In the United States: The Metropolitan Museum of Art, the Museum of Modern Art, The Art Institute in Chicago, The Dalí Museum, Georgia O'Keeffe Museum, The Cleveland Museum of Art, Frank Lloyd Wright Foundation, and National Museum of Mexican Art. In the United Kingdom: The British Museum; The National Gallery, London; Tate; and Victoria and Albert Museum. In France: the Louvre. In the Netherlands: Rijksmuseum Amsterdam and Van Gogh Museum. In Italy: the Vatican Museums. In Spain: Guggenheim Bilbao. Google Arts & Culture provides virtual tours of the following museums: National Museum of Modern and Contemporary Art (South Korea), Musée d'Orsay (France), Museu Coleção Berardo (Portugal), Tallinn City Museum (Estonia), The Museu de Arte de São Paulo (Brazil), and Museo de Arte Contemporáneo de Bogotá (Colombia).</bibtext> </blist> <blist> <bibtext> Morrill provides several tutorial videos on his YouTube channel, VRcade Tech with GxxnAR, to show the step-by-step processes of how to use the applications for the projects he introduced.</bibtext> </blist> </ref> <aug> <p>By Hyunji Kwon and Kenneth Morrill</p> <p>Reported by Author; Author</p> <p></p> <p>Hyunji Kwon, Assistant Professor of Art Education, School of Visual Art and Design, University of South Carolina in Columbia. . Website: <ulink href="http://www.hyunjikwon.com">http://www.hyunjikwon.com</ulink></p> <p>Kenneth Morrill, Visual Arts Teacher, Dr. Phinnize J. Fisher Middle School in Greenville, South Carolina.</p> </aug> <nolink nlid="nl1" bibid="bib12" firstref="ref2"></nolink> <nolink nlid="nl2" bibid="bib13" firstref="ref6"></nolink> <nolink nlid="nl3" bibid="bib10" firstref="ref8"></nolink> <nolink nlid="nl4" bibid="bib16" firstref="ref9"></nolink> <nolink nlid="nl5" bibid="bib17" firstref="ref10"></nolink> <nolink nlid="nl6" bibid="bib11" firstref="ref13"></nolink> <nolink nlid="nl7" bibid="bib14" firstref="ref18"></nolink> <nolink nlid="nl8" bibid="bib15" firstref="ref20"></nolink> <nolink nlid="nl9" bibid="bib18" firstref="ref23"></nolink> <nolink nlid="nl10" bibid="bib19" firstref="ref24"></nolink>
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  Data: <searchLink fieldCode="AR" term="%22Kwon%2C+Hyunji%22">Kwon, Hyunji</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0001-6395-6980">0000-0001-6395-6980</externalLink>)<br /><searchLink fieldCode="AR" term="%22Morrill%2C+Kenneth%22">Morrill, Kenneth</searchLink>
– Name: TitleSource
  Label: Source
  Group: Src
  Data: <searchLink fieldCode="SO" term="%22Art+Education%22"><i>Art Education</i></searchLink>. 2022 75(4):27-32.
– Name: Avail
  Label: Availability
  Group: Avail
  Data: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
– Name: PeerReviewed
  Label: Peer Reviewed
  Group: SrcInfo
  Data: Y
– Name: Pages
  Label: Page Count
  Group: Src
  Data: 6
– Name: DatePubCY
  Label: Publication Date
  Group: Date
  Data: 2022
– Name: TypeDocument
  Label: Document Type
  Group: TypDoc
  Data: Journal Articles<br />Reports - Descriptive
– Name: Subject
  Label: Descriptors
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Computer+Simulation%22">Computer Simulation</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Education%22">Art Education</searchLink><br /><searchLink fieldCode="DE" term="%22Situated+Learning%22">Situated Learning</searchLink><br /><searchLink fieldCode="DE" term="%22Photography%22">Photography</searchLink><br /><searchLink fieldCode="DE" term="%22Technology+Uses+in+Education%22">Technology Uses in Education</searchLink>
– Name: DOI
  Label: DOI
  Group: ID
  Data: 10.1080/00043125.2022.2053458
– Name: ISSN
  Label: ISSN
  Group: ISSN
  Data: 0004-3125<br />2325-5161
– Name: Abstract
  Label: Abstract
  Group: Ab
  Data: Due to the science, technology, engineering, and mathematics movement and the immersive aspects of virtual reality technology, the use of virtual reality in education has grown rapidly. In the field of art education, many researchers have demonstrated the potential of using digital art and virtual worlds. Based on how technology and convincing stories make virtual worlds more believable, the authors propose that immersion in virtual reality and situated learning are mutually beneficial. Kwon (a preservice art educator) is relatively new to virtual reality and has implemented this tool in her art methods and practicum course since 2019. Because she used virtual worlds that are readily available, her examples may be a good fit for beginner teachers. Morrill (a visual arts teacher in a science, technology, engineering, arts, and mathematics middle school) is more experienced and has used virtual reality technology to create new virtual worlds with his students since 2012. Morrill's examples with AR and VR may be suitable for art teachers familiar with the technology.
– Name: AbstractInfo
  Label: Abstractor
  Group: Ab
  Data: ERIC
– Name: DateEntry
  Label: Entry Date
  Group: Date
  Data: 2022
– Name: AN
  Label: Accession Number
  Group: ID
  Data: EJ1356466
PLink https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=eric&AN=EJ1356466
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      – Text: English
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        PageCount: 6
        StartPage: 27
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      – SubjectFull: Computer Simulation
        Type: general
      – SubjectFull: Art Education
        Type: general
      – SubjectFull: Situated Learning
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      – SubjectFull: Photography
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      – SubjectFull: Technology Uses in Education
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      – TitleFull: Virtual Reality: Immersive and Situated Art Education with 360-Degree Cameras and Augmented and Virtual Reality Technology
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              Type: published
              Y: 2022
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