Content Identification

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What are the main considerations prior to identifying content?

  • Is content already available, or does it need to be created?
  • These are important considerations, along with the specific project’s life-cycle. If the content has to be created, considerable time must be included if the material is going to be interesting and challenging.
  • The other consideration is to make sure that, if academics are involved, that the content meets their requirements. Issues with academic reputation are always at stake, and projects such as designing an app are no different.
  • How is the content framed or mediated by the technology, already in place, which was used to create it?
  • This issue is important, because the objects under consideration were created using some form of technology, whether it was a printing press or a type-writer. Therefore, it is important to think about ways that AR can be used, which puts it in context with those other means of presenting the content, as the question below ask:
  • Will the application of AR change those mediating processes? How?
  • How is the use of AR related contextually to those other, previous technologies?
    • i.e., consider them all as means of production and dissemination, and therefore, how does AR relate to and extend the “original” idea of getting a book published and studied, for example?
  • Is the content site specific, or are multiple access mechanisms possible?
  • This is an important consideration because issues with copyright may be contentious, as would be specific websites which house versions of the content.
  • Will the content be signposted? Layered? Both?
  • What will be the methodology to identify key content?
    • i.e., for the Dante course, Dr. Guyda Armstrong worked backwards, initially, from the learning outcomes and assessments, to determine how the use Project would still best to serve what the students should be able to do, as a result of taking the course, and what they will produce as requirements for the course.
  • Case Study Function:
    • Make distinct the production context – the individuals who were involved in the making of the object(s) from the material features of the object(s) – such as binding, paper, design, and the way in which the thing presents itself as a particular kind of object, i.e., “a Dante edition”



What are the main considerations when identifying content?

  • Learning outcomes and objectives
    • How does the AR-version of the course fit with the already-established learning outcomes?
  • This is particularly important, given that projects like SCARLET insisted that it would be content-driven, not technology-driven; therefore, the content needs to work in conjunction with the overall rationale for the original course’s development.
  • Narrowing/Expanding:
    • How many items are there belonging to the collection?
    • How can the number be limited or expanded, while still retaining the integrity of the original idea of the course, based on the material object(s)?
  • Are the records/objects digitised already?
    • What is the availability of the objects?
  • Special Collections, e.g., specialised handling and conditions?
  • Completely digital and freely available?
  • Completely digital with conditional use?

What types of content are available?

• What kinds of content are available for use and where are they stored?

• How is this content made accessible to the public?

• Wikis

• Blogs

• Internet resources

• Library catalogues

• Image (including digital) resources

Related blog posts

Blowing the Dust off Special Collections

Demonstration Content

Demystifying the SCARLET app Workflow

Storyboarding Augmented Reality Content for Dante

Planning a Literature Class Using Non-Traditional Teaching/AR Methods

System Integration and Digital Assets

Capturing the Dante Content and Digital Asset Gathering



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