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
The main goal of the conference is to promote the interest in the current digital culture and its intersection with art and technology as an important research field, and also to create a common space for discussion and exchange of new experiences. It seeks to foster greater understanding about digital arts and culture across a wide spectrum of cultural, disciplinary, and professional practices. To this end, many scholars, teachers, researchers, artists, comput-er professionals, and others who are working within the broadly defined areas of digital arts, culture and education across the world, submitted their innovative work to the conference. © 2019 ACM.

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
Background: Blended treatments, combining digital components with face-to-face (FTF) therapy, are starting to find their way into mental health care. Knowledge on how blended treatments should be set up is, however, still limited. To further explore and optimize blended treatment protocols, it is important to obtain a full picture of what actually happens during treatments when applied in routine mental health care. Objective: The aims of this study were to gain insight into the usage of the different components of a blended cognitive behavioral therapy (bCBT) for depression and reflect on actual engagement as compared with intended application, compare bCBT usage between primary and specialized care, and explore different usage patterns. Methods: Data used were collected from participants of the European Comparative Effectiveness Research on Internet-Based Depression Treatment project, a European multisite randomized controlled trial comparing bCBT with regular care for depression. Patients were recruited in primary and specialized routine mental health care settings between February 2015 and December 2017. Analyses were performed on the group of participants allocated to the bCBT condition who made use of the Moodbuster platform and for whom data from all blended components were available (n=200). Included patients were from Germany, Poland, the Netherlands, and France; 64.5% (129/200) were female and the average age was 42 years (range 18-74 years). Results: Overall, there was a large variability in the usage of the blended treatment. A clear distinction between care settings was observed, with longer treatment duration and more FTF sessions in specialized care and a more active and intensive usage of the Web-based component by the patients in primary care. Of the patients who started the bCBT, 89.5% (179/200) also continued with this treatment format. Treatment preference, educational level, and the number of comorbid disorders were associated with bCBT engagement. Conclusions: Blended treatments can be applied to a group of patients being treated for depression in routine mental health care. Rather than striving for an optimal blend, a more personalized blended care approach seems to be the most suitable. The next step is to gain more insight into the clinical and cost-effectiveness of blended treatments and to further facilitate uptake in routine mental health care.