In recent years, there has been a surge of Metaverse applications and tools striving to capture the attention of both the general public and businesses, with a particularly strong potential within the tourism sector. However, there has been significant criticism towards major corporations for marketing a concept of the Metaverse that fails to align with reality. On the other hand, smaller entities such as Spatial-io, which is an innovative metaverse platform, are introducing a different style of the Metaverse, one that is highly accessible from contemporary devices like smartphones, tablets, VR headsets, and traditional PCs via WebXR platforms. This article delves into and scrutinizes various methodologies of a tourism-oriented Metaverse, considering its prospective utility as a vehicle to attract more visitors. A virtual tourist information center was established on the Spatial-io Metaverse platform to promote Valencia, Spain. This research scrutinizes the navigation, accessibility, and usability of the service from a conventional PC browser, contrasting it with the experience offered by the Meta Quest 2 virtual reality headset. The study’s quantitative and qualitative data analysis indicates that these innovative services are highly regarded, particularly when a real person (not a bot) provides information, fostering trust and offering details about various tourist attractions within the promoted city. The comparison of user inquiries’ time and depth aligns with the immersion level, demonstrating more positive feedback when the service is accessed through the VR system rather than a standard PC browser.

This work aims to identify and propose a functional pipeline for indie live-action films using Virtual Production with photorealistic real-time rendering game engines. The new production landscape is radically changing how movies and shows are made. Those were made in a linear pipeline, and now filmmakers can execute multiple tasks in a parallel mode using real-time renderers with high potential for different types of productions. Four interviews of professionals in the Spanish film and television market were conducted to obtain the whole perspective of the new paradigm. Following those examples, a virtual production set was implemented with an Antilatency tracking system, Unreal Engine (version 5.3), and Aximmetry (version 2023.3.2) as the leading software applications. Results are commented on, presenting how all the work is currently closely connected between pre-production, shooting, and post-production and analyzing its potential in different fields.

This study investigates the potential of integrating multilayer animations and sophisticated shader technologies to enhance visitor social interactions within metaverse exhibition spaces. It is part of a broader initiative aimed at developing innovative digital museology strategies that foster social engagement through virtual reality (VR) experiences. The methodology adopted seeks to provide a more immersive and human-centric exploration of 3D digital environments by blending elements of physical spaces with the interactive dynamics common in video games. A virtual exhibition space themed around Mars was created as a testbed to facilitate social interactions among users, who navigate the environment via avatars. This digital space was developed using a specialized Unity template designed by the metaverse platform Spatial.io. Overcoming the programming constraints imposed by Spatial.io, which limits the use of external scripts for security and stability, posed a significant challenge. Nonetheless, by leveraging the ability to modify shader codes used for material creation and employing advanced animation techniques with layered effects, the authors of this work achieved dynamic material responses to lighting changes and initiated complex asset interactions beyond simple linear animations.

Extended-reality (XR) tools are increasingly used to revitalise museum experiences, but typical head-mounted or smartphone solutions tend to fragment audiences and suppress the social dialogue that makes cultural heritage memorable. This article addresses that gap on two fronts. First, it proposes a four-phase design methodology—spanning artifact selection, narrative framing, tangible-interface fabrication, spatial installation, software integration, validation, and deployment—that helps curators, designers, and technologists to co-create XR exhibitions in which co-presence, embodied action, and multisensory cues are treated as primary design goals rather than afterthoughts. Second, the paper reports LanternXR, a proof-of-concept built with the methodology: visitors share a 3D-printed replica of the fourteenth-century Virgin of Boixadors while wielding a tracked “camera” and a candle-like lantern that lets them illuminate, photograph, and annotate the sculpture inside a life-sized Gothic nave rendered on large 4K displays with spatial audio and responsive lighting. To validate the approach, the article presents an analytical synthesis of feedback from curators, museologists, and XR technologists, underscoring the system’s capacity to foster collaboration, deepen engagement, and broaden accessibility. The findings show how XR can move museum audiences from isolated immersion to collective, multisensory exploration.

In recent years, the use of technology in the museum context has changed radically. It has switched from the display of information to offering emotive, immersive, and rich experiences with heritage. Virtual interactive media have the potential to put museums back into a relevant place in our increasingly digital society. The emergence of augmented-reality glasses offers the possibility to test and implement new methodologies compatible with this aim. However, most of the first examples developed in recent years did not take advantage of the possibilities of this new medium. This paper presents a novel methodology for producing mixed-reality applications for museums and heritage sites, with an intuitive, immersive, and natural way of operating. An experimental prototype designed for the archaeological museum of the Almoina is shown in the paper to demonstrate the benefits of the proposed system and methodology of production. In addition, the paper shows the results of several tests.

The presence and significance of artificial intelligence (AI) technology in society have been steadily increasing since 2000. While its potential benefits are widely acknowledged, concerns about its impact on society, the economy, and ethics have also been raised. Consequently, artificial intelligence has garnered widespread attention in news media and popular culture. As mass media plays a pivotal role in shaping public perception, it is crucial to evaluate opinions expressed in these outlets. Understanding the public’s perception of artificial intelligence is essential for effective public policy and decision making. This paper presents the results of a sentiment analysis study conducted on WIRED magazine’s coverage of artificial intelligence between January 2018 and April 2023. The objective of the study is to assess the prevailing opinions towards artificial intelligence in articles from WIRED magazine, which is widely recognized as one of the most reputable and influential publications in the field of technology and innovation. Using two sentiment analysis techniques, AFINN and VADER, a total of 4265 articles were analyzed for positive, negative, and neutral sentiments. Additionally, a term frequency analysis was conducted to categorize articles based on the frequency of mentions of artificial intelligence. Finally, a linear regression analysis of the mean positive and negative sentiments was performed to examine trends for each month over a five-year period. The results revealed a leading pattern: there was a predominant positive sentiment with an upward trend in both positive and negative sentiments. This polarization of sentiment suggests a shift towards more extreme positions, which should influence public policy and decision making in the near future.