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Icomos 2013--Can The Past Be Shared In VR?

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Conference: 2013 Canberra Centenary: ‘Imagined pasts…, imagined futures’
URL: http://www.aicomos.com/2013-canberra-centenary/
Venue: Museum of Australian Democracy in Old Parliament House, Canberra, 1-3 Nov 2013
TITLE: Can the past be shared in Virtual Reality?

There is an interesting divide between historians and the public that must be debated, how to best use virtual heritage, and digital media in general, to learn and share historical knowledge and interpretation. Heritage and history do not have to be a series of slides; space-time-intention can now be depicted and reconfigured. Teaching history and heritage through digitally simulated ‘learning by doing’ is an incredibly understudied research area and is of vital importance to a richer understanding of heritage as lived. However, the actual spatial implications of siting learning tasks in a virtual environment are still largely un-researched. Evaluation of virtual environments has been relatively context-free, designed for user freedom and forward looking creativity. It is still much more difficult to create a virtual place that brings the past alive without destroying it.

There has been an explosion in virtual heritage conferences this century. In the last year alone, there have been calls for digital cultural heritage or virtual heritage by Graphite, VSMM, New Heritage Forum, VRST, VAST, DIME, Archäologie & Computer, and DACH, just to name a few. An outside observer may believe that such academic interest, coupled with recent advances in virtual reality (VR), specifically in virtual environment technology and evaluation, would prepare one for designing a successful virtual heritage environment. Game designers may also be led to believe that games using historical characters, events or settings, may be readily adaptable to virtual heritage. This paper will advance key contextual issues that question both assumptions.

Beacham, R., Denard, H., & Niccolucci, F. (2006). London charter for the computer-based visualization of cultural heritage. Retrieved from http://www.londoncharter.org/introduction.html Fredrik, D. (2012). Rhetoric, Embodiment, Play: Game Design as Critical Practice in the Art History of Pompeii. Meaningful Play 2012 conference paper. Retrieved fromhttp://meaningfulplay.msu.edu/proceedings2012/mp2012_submission_178.pdf

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Icomos 2013--Can The Past Be Shared In VR?

  1. 1. Erik Champion
  2. 2. Can the Past be Shared in Virtual Reality? Learn and share historical knowledge + interpretation? Heritage and history do not have to be a series of slides; space-time-intention can now be depicted and reconfigured. Teaching history and heritage through „learning by doing‟ Evaluation of virtual environments relatively context-free It is still much more difficult to create a virtual place that brings the past alive without destroying it.
  3. 3. Games are the future? Explosion in virtual heritage conferences.. 1. Could academic interest +recent advances in virtual reality (VR) prepare one for designing a successful VHE? 2. Games using historical characters, events or settings, may be readily adaptable to virtual heritage? 3. Issues of Presentation Interaction & Participation..
  4. 4. Presentation http://www.cineca.it/en
  5. 5. Interaction Creative Game Tools
  6. 6. Participation Game Design in Teams Minecraft Library Involving Strangers Hackathon Lithuania
  7. 7. Social Judgment.. is sadly missing in Virtual Worlds.. http://www.thedigitalshift.com/2013/10/social-media/south-carolina-state-librarylaunches-social-media-library-and-archive/
  8. 8. Digital Heritage 2013 Marseille N
  9. 9. Navigating Real /Virtual Sites
  10. 10. Nokia 808 pureview SLR quality 41mp sensor
  11. 11. Scanning Futures (D. Pouliquen, Autodesk)  2012: Nokia 808 pureview phone as powerful as SLR,. 40+megapixels  2014: Pelican imaging ultra thin camera array for phones  We can capture 2 billion pts in 2012, 20+billion in 2014 pt cloud  Create online high textured 3D from photos, http://recap.autodesk.com/signin.aspx (Krishna)  www.occipital.com super easy 360 panoramas or capture 3D  CYARK in India
  12. 12. Jean-Pierre Jessel IRIT, Université Paul Sabatier Mobile games: not “a better learning but a better global game experience”
  13. 13. Fraunhofer IDG CHESS project-Markerless tracking
  14. 14. Eduventure, Rhine Castle
  15. 15. OLD VR is dead .. long live VR • Augmented is now mixed reality • Vision is just one of many • Active stereo non glasses around corner • Game engines are VR engines • Collaborative gameplay • Interactive storytelling • Learning about cultural heritage is designing heritage interactivity
  16. 16. Wild Reindeer Exhibit Gagarin Interactive Iceland
  17. 17. Assets will be available IMG_1480.jpg http://www.cineca.it/en
  18. 18. http://www.cineca.it/e
  19. 19. CINECA APA re-use game http://www.cineca.it/en
  20. 20. Learning via Game Design Fort Worth Game, Duke University Fort Worth Game, Duke University
  21. 21. Serious Games in CH  Gaius Day, Augmented Reality on site  Roma Nova Petridis 2012  Canada: A People‟s History Game OR building Detroit  On site historical (Schrier 2006)reliving the revolution  Eduventure I: (Ferdinand 2005) Rhine valley history, played in real Marksburg castle, on tablet, webcam ARToolkitPlus  Virtuso Arts history (Wagner 2007), sort a collection of artworks or monuments  ThIATRO art history (Froschauer et al, VSMM 2012)  Escaladieu (IRIT 2010) Abbey in Pyranees, 3D AR  Studierstube ES game handheld AR platform  Strategy eg Battle of Waterloo (BBC)
  22. 22. Professional: Serious games interactive       Challenge: ..the belief that it is exciting to learn about history. The game integrates learning and playing in a way that engages pupils and gives them a concrete feel for the historical time and setting Solution: The game can be compared to a journey through time and space Platform: Mac/PC, single player, browser Technology: 3D Unity game engine Playtime: Per game 60 minutes Target group: 9-14 years old http://playinghistory.eu/front Thanks to Pernille for the info
  23. 23. My background  PhD  Teaching game design interaction design and multimedia interface design, now cultural visualisation  Supervision  Digital Humanities (CHCTA Europe)  Now, looking for students and projects, may host conference
  24. 24. Interaction design issues 1. Fact versus Fiction 2. Unrealistic expectations 3. Increasing interaction interferes with increasing knowledge of history 4. Joysticks of Doom: The Indiana Jones Dilemma 5. „Cultural Presence‟ missing Journey to the West
  25. 25. Problem: Inhabitants‟ point of view  Can users learn via interaction the meanings and values of others, do we need to interact as the original inhabitants did?  How can we find out how they interacted?  Can the limited and constraining nature of current technology help interaction become more meaningful, educational and enjoyable (Handron & Jacobson, 2010)?  How do we even know when meaningful learning is reached?
  26. 26. Different Linguistic Worlds Palenque model: a Mayan sees backpacker in the jungle; backpacker sees the Mayan in a museum
  27. 27. Games for history/heritage 1. 2. 3. 4. 5. 6. 7. 8. Play and and answer questions Play and classroom discuss authenticity Role-play with games, puppets, or narrators Mod cities, empires events based on theories Film events etc. using machinima tools Combine images or panoramas with other media Design past artefacts, events, rituals or customs Create VEs using games and game mods or using VR What is the Cultural Significance and Contextual Fragility?
  28. 28. Alternatives to Violence            Reflexivity: A reflective space, where players are encouraged to relax and consider the consequences of their actions Performativity: The player, if in a class situation, could be asked to perform or orate and present their experience of the VE Role-playing Virtue Ethics: Take on characters in role playing games and see how their characters change in relation to perceived development of virtue ethics.. Consequentialism: Players could be allowed to be violent, but the consequences of their actions could affect their future gameplay. through the game. Alternative Strategies: Violence could be offered as a strategy, but it could be offered as a long-term destructive strategy. Creative Uses For Weapons: used as tools to construct. NPC distaste and disparagement: they discourage violence. Biofeedback: Performance based on calmness Expressive and embodied modes of interaction Emphasis on non-violent competition Players become morally accountable for their actions
  29. 29. Integrate Text+Model http://gap.alexandriaarchive.org/gapvis/index.html#index
  30. 30. Cinematic biofeedback
  31. 31. Games: Pros and cons Factors Weaknesses Strengths Interaction Agency destroys historic causality. Simplistic interaction, may be difficult for older audiences. Helps teach interaction design. Engagement Educational games: worst of both worlds? Well-known & popular. Learning How to promote heritage & knowledge transfer. Learn by trial and error. Leveling allow for skills learnt Technical issues Often contains many bugs. Often platform specific. Speed, lighting, avatar design, peripheries, networking Support Support by the actual company can be slow, and they may avoid listing intended future features. Community support (internet forums). Game development Non proprietary formats, changing game engine code may require extremely good levels of programming. Education discounts available, some games are easily “modded”. Access/ cost Expensive software development kits and commercial licenses. Expensive as classroom set. Take them home, personalize modify and share them. Institutional
  32. 32. What I need from you  Fresh brains  What will or won‟t work in the field?  Conference suggestions  Collaborative projects in any and all of the above..
  33. 33. Contact details Erik Champion Professor of Cultural Visualisation, School of Media Culture & Creative Arts, Faculty of Humanities, Curtin University, Perth AUSTRALIA E: erik.champion@curtin.edu.au W: http://erikchampion.wordpress.com Li Wang and Erik Champion
  34. 34. References Beacham, R., Denard, H., & Niccolucci, F. (2006). London charter for the computer-based visualization of cultural heritage. Retrieved from http://www.londoncharter.org/introduction.html Fredrik, D. (2012). Rhetoric, Embodiment, Play: Game Design as Critical Practice in the Art History of Pompeii. Meaningful Play 2012 conference paper. Retrieved from http://meaningfulplay.msu.edu/proceedings2012/mp2012_submission_ 178.pdf Riedek J. et al., 2011. State of the art of serious games for business and industry, 17th International Conference on Concurrent Enterprising (ICE). Online at http://ieeexplore.ieee.org/xpl/login.jsp?tp=&arnumber=6041266&url=ht tp%3A%2F%2Fieeexplore.ieee.org%2Fxpls%2Fabs_all.jsp%3Farnum ber%3D6041266

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