## 5 Discussion: What to Care about When Designing, Developing, and Experiencing Holographic Showcases  
According to the research questions (Section 1.2) and based upon the results of the UXA (Section 4) referable to the Kunagota sword and Mytilene Treasure's holographic showcases, the CNR ISPC team was able to summarize the lessons learned out of the UXA identified during the several evaluations:  
1. For the UXA \"Conception and Desiderata\", it is important to care about the following: - Mixed reality (interaction with virtual and real contents) was confirmed to be appreciated as an efficacious means of museum objects' contextualization through OQT and OBS; - Dramatized storytelling pushed visitors within the story and brought the object back to life. This is because it harmonized well with the magic of the holograms, as it was conceived by the CNR team, and the CQT, OQT, and OBS confirmed such an issue in comparison with the actual used museum communication channels; - Visitors appreciated the novelty of the holographic showcase, but its efficacious integration in the context of the exhibition was an issue from a technical and logistical point of view. Certain elements did not always work, which happened in APM and BCM due to the MR solution being located in an inappropriate manner (too close to other multimedia). \begin{table}
\begin{tabular}{l c c}
**UXA Sub-Analytic** & **Positive Feedback** & **Negative Feedback** \\ BEHAVIOR & - & - \\ PARTICIPATION TO & 95\% & 5\% \\ EVALUATION & 50\% & 50\% \\ SOCIALITY & 50\% & 50\% \\ RESEARCHERS’ NOTES & - & - \\ \end{tabular}
\end{table} 
Table 8: Audience UXA results from UX evaluation, with percentages of QT and OBS. For the UXA \"Story and Storytelling\", it is important to care about the following:  
* Even in the absence of user interaction with the system, the highest level of cognitive learning was reached through attention, memorization, and elaboration of historical contents, as the CQT and CQT revealed, especially for cultural content questions;
* The style of the story divided users' opinions. The Kunagota sword was considered pleasant by most visitors and confusing or childish by a smaller part of them whereas the Mytilene Treasure amassed positive appreciation for its essentiality and the use of real actors (which provided emotions and self-identification). This issue was merely personal and subjective, and it was influenced by the visitors' provenance and their attitudes and familiarity toward digital applications in museums;
* Concerning doubts about historical fidelity, for the Kunagota sword, some users referred uncertainty about the reliability of the contents, probably because of the pictorial style. Again, the issue here was subjective, and it differed according to the age of the public and the aesthetical layout they expected to see in museums;
* A written description of the subject and declaration of the duration of the story turned to be necessary for users' understanding and comfort when in front of the holographic showcase. In all venues, the authors missed some of the above-mentioned information, and visitors highlighted these needs in the CQT and OBS;
* The duration of the story was an issue due to the time at the users' disposal when in the museum, but it also depended on the environmental conditions and the type of museum experience (e.g., alone or in a group and standing or sitting). This aspect is controversial and needs to be well addressed before making the storytelling, already having in mind what the final set-up will be (e.g., cinema-like installation, serious game, or online application);
* The users appreciated the voiceover and soundscape (better than written texts). Nevertheless, audio in museums needs to be managed to create a user roadmap where the acoustics and volume of digital applications do not interfere with the whole museum experience but still preserve their function and relevance.