## 3 The CEMEC UX Evaluation
### Contexts of Analysis  
UXA was applied to **four venues of the CEMEC exhibition** which differed in terms of dimensions, environment, lights, position along the museum visit path, and general atmosphere (Figures 3-6). A summary is presented below. Figure 2: Images showing the two different set-ups and ways of fruition of the Kunágota sword and Mytilene Treasure storytelling: on a TV screen (**a**) or on a holographic showcase (**b**). Figure 4: Amsterdam’s set-up of the holographic showcase: a box with the real museum object inside it. Figure 5: Athens’s set-up of the holographic showcase: a box with the three museum objects inside it. Figure 3: Budapest’s set-up of the holographic showcase: a big projection wall with the showcase inside it and the real museum object on display. Budapest, Hungary (HNM). The venue had the following features (Figure 3):  
- Quite dark space around the holographic showcase;  
- Holographic showcase placed in an isolated space (set inside a dedicated room of the museum);  
- Narration broadcasted through audio speakers (stereo sound);  
- Holographic showcase provided with a frontal walking space (maximum 10 persons) to dynamically position oneself at the correct distance from the projections;  
- Inner and outer projections alternating with each other and presenting the storytelling. Amsterdam, Holland (APM). The venue had the following features (Figure 4):  
- No dark space around the holographic showcase, as it is illuminated by museum lights;  
- Holographic showcase placed not in an isolated space but along the museum visit path;  
- Narration broadcasted through a sound shower (mono sound) set on the top of the showcase;  
- Limited walking space (maximum four persons) around the holographic showcase;  
- Only the inner projection presents the storytelling. Athens, Greece (BCM). The venue had the following features (Figure 5):  
- No dark space around the holographic showcase, which was illuminated by museum lights, and a ceiling cover to protect the showcase from environmental light;  
- Holographic showcase placed not in an isolated space but along the museum visit path;  
- Narration broadcasted through audio directional speakers (stereo sound);  
- Holographic showcase located in the middle of the museum pathway leading to another museum room;  
- Only the inner projection presenting the storytelling. Bonn, Germany (LVR-LANDESMUSEUM). The venue had the following features (Figure 6):  
- No dark space;  
- Quite isolated and silent space (at the end of the museum corridor);  
- Headphones (two pairs different from those of the general audio guide);  
- Passed along the walking space (in the middle of a pathway to another museum room);  
- Inner projection only. Not all venues presented the same technological configuration (Table 2)--even in the case of the holographic showcase--because at the time of each exhibition, the design and development of the system underwent several evaluation phases. These produced modifications, enhancements, and enrichment of some functions (such as the possibility to select the preferred language at any moment, even while the animation was running) as well as a few changes in the contents (such as their duration in the case of the Kunagota sword). Moreover, the number of collected QT and OBS differed according to visitors' participation in the UX evaluation. Nevertheless, a respectful amount of data for each method was ensured, allowing the CNR I SPC team to work on average estimations. Each location had its own public (according to the regular museum's open hours) ticketing, audience provenance, and any collateral initiative ongoing during CEMEC exhibition for each venue. Thus, the public was different from time to time. None of the visitors, according to what the authors know, had been travelling between the four European locations. It turned to be quite difficult to frame the audience's engagement and participation in each CEMEC exhibition.