Abstract
To contribute in filling in the gap regarding experiences targeted at and evaluated by teenagers in museums, we involved 78 teenagers aged 16-19 to test three different gamified tours developed by cultural heritage professionals from the Natural History Museum of Funchal, Portugal. The digital tours can be described as follows: 1) expositive - through which teens become aware of a scientific library in the museum; 2) gastronomic - teens are exposed to curiosities and recipes regarding a selection of marine species exhibited in the museum; 3) digital manipulation manipulated characters (image and voice) guide the visitor through videos of the marine species in their natural habitats. We report on measuring the teenagers' overall experience with each of the prototypes, particularly their engagement with the exhibition, the usefulness and usability of the prototypes, as well as their feelings and emotions at the end of each tour. We report on lessons learned from the evaluation of these prototypes as well as which approaches and mechanics engaged the teens the most.

Abstract
This paper focuses on the combination of 360-degree video and virtual reality for improving the touristic experience. Three scenarios were considered in this study: two 360-degree video visualizations, each one related to different touristic places, both presented in an immersive way, followed by an actual visit to those places. By comparing these situations, it was intended to determine the degree of perceived similarity between the virtual and the corresponding real sites, and to analyze if the users' expectancy was fulfilled. This research comprised a qualitative analysis using data collection based on questionnaires, which were applied to a sample consisted of 45 participants. The independent variables of the study were the participants' age and level of education. The results show no statistically significant impact between the two independent variables (users' age and level of education) and perceived similarity and users' expectancy. Our findings suggest that virtual tourism can act as an efficient promotion tool, considering that users' perceived destination image is not compromised regarding their age or level of education.

Abstract
Museums and exhibitions usually attempt to evaluate visitors' obtained knowledge through the use of traditional evaluation methods such as questionnaires. These are intrusive and may not provide correct results, especially due to the fact that visitors are usually not interested in being evaluated and may consider such questionnaires as intelligence tests. This paper proposes methods of design and creation of automatic evaluation techniques that make use of Virtual Reality (VR) in order to evaluate users' obtained knowledge after playing through a VR museum game experience. This Analysis System is non-intrusive (its methodology does not impact users' immersion and engagement), valid (can draw conclusions regarding users' obtained knowledge), and replicable (designed techniques can be used in a variety of experiences). Results indicate that the designed assessment techniques can be used to automatically evaluate the knowledge obtained by users throughout the experience, as well as some considerations to keep in mind when designing game experiences with these techniques.

Abstract
This submission describes the analysis of an evaluation of 155 teenagers (15-19 years old) who took part in a co-design session centred around how mobile technology might enhance their own experiences in a natural history museum. At the end, participants were required to make a word association to evaluate the session. An analysis of how teen participants responded to the design session was conducted using thematic analysis to show the different categories of adjectives used by participants in their evaluations. The goal for the evaluation was mainly to pilot the design session process and if teens enjoyed participating in it. We believe this is of interest to designers and cultural heritage professionals.

Abstract
Digital media expanded people's creative horizons by placing knowledge, tools, design procedures and its practices within reach, yet it also called for new literacies. Games can encourage reflection and interaction in alternative ways, and ease learning and the articulation of knowledge between individuals, thus they may be valuable for such requirements. In spite of this, games are still struggling to find their way into classrooms and workplaces as tools for creativity, as educators are not prepared to design them for such purposes, which limits their use in scope and in substance. With this in mind, we developed Bully Who?, an analogue game prototype for players to learn to deal with bullying in a creative way, by acting as a stage for embodying the roles of aggressors and victims, making players aware of their emotions and consequences involved. To check for viability, usability and potential, we resorted to play-testing sessions involving a small sample of twenty-five, socially-diverse individuals. This study helped us draw several conclusions: 1) simulating embodied, dramatized actions increases awareness of one's emotions and helps speculating on the state of others' - something valuable to cultivate emotional intelligence; 2) theatrical gameplay can help establish an attitude favourable for game-based learning; 3) games can act as ground to bridge intergenerational exchange for problem-solving; 4) according to participants the prototype has the potential to be adapted to stimulate creative discussion on similar social concerns.

Abstract
This article inspects theory emerging from literature review and labora-tory work on games for cultivating creative literacy. Whether games can or cannot instil or alienate one’s creativity is debatable. On one hand, they can be risk-and stress-free exploring grounds for people to interact in ways without parallel; on another, they can disengage players from the real world. Nevertheless, they have the potential to be turned into tools for thinking, for learning and for articulating knowledge between individu-als. With that into consideration, we pinpointed two main groups that branch into four major categories: Behaviours – comprised of Attitudes and Competencies – and Conditions – comprised of Procedures and Resources – which we are structuring into a framework from which we draw hypotheses that undergo validation through play-testing sessions, in order to improve the framework.