Cultural Tourism XR

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For the 1-2 PM (GMT+8) March 2021 webinar: ASEAN AUSTRALIA SMART CITIES WEBINAR SERIES: PROMOTING SMART TOURISM RECOVERY VIA VIRTUAL REALITY Part 7 via ZOOM, https://events.development.asia/learning-events/asean-australia-smart-cities-webinar-series-part-7-promoting-smart-tourism-recovery This short 7-8 minute speech considers XR (extended reality) for cultural tourism.

Education

Cultural Tourism XR
Erik Champion
Emeritus Professor, Curtin University
Honorary Research Professor, ANU
Honorary Research Fellow, UWA
E: erikchampion@gmail.com T:@nzerik
*Note: Current background photo is subject to change
ASEAN AUSTRALIA SMART CITIES WEBINAR SERIES:
PROMOTING SMART TOURISM RECOVERY VIA VIRTUAL REALITY
2 March 2021, 1:00 –2:00 PM GMT+8, VIA ZOOM

Augmenting* Heritage
• Rethinking Virtual Places (IUP, 2021).
• Co-editing Assassin’s Creed in the Classroom,
Museum and Gallery (De Gruyter, 2022).
• Co-editing Screen Tourism & Affective
Landscapes.
• Edited Virtual Heritage: A Concise Guide
(Ubiquity, 2021).
• Edited The Phenomenology of Real and Virtual
Places (Routledge, 2018).
• Critical Gaming: Interactive History and Virtual
Heritage (Routledge, 2016).
• Playing with the Past (Springer, 2011).
*https://erikchampion.wordpress.com/2020/05/23/vr-travel-
and-tour-apps/

What is AR MR AV VR XR?
What is a Virtuality?
Mixed reality: classic explanation Wikipedia
XR=“all the immersive technologies" (Forbes 2019)
AR apps, addons, frameworks, game engines
https://alisonjamesart.com/2017/03/12/what-is-a-virtuality/
What is Mixed Reality? Mark Billinghurst, 2017
L: Augmented Virtuality-user can see video of their real hands in VR
Milgram Takemura Utsumi & Kishino (1994)

Extended Reality-audiences
• XR/XR for Cultural Tourism
• Aural response phone-based AR
• Shared Embodiment
• Screen tourism
• Game-based transmedia
• XR 215 billion dollar market in 2021?
• Obsolescence https://edu.google.com/products/vr-ar/expeditions/
• Examples https://www.digitaltrends.com/mobile/best-augmented-
reality-apps/
• Unreal game engine AR
https://developers.google.com/ar/develop/unreal/quickstart
• Google ARCore https://developers.google.com/ar/ (examples)
• Apple ARKit https://developer.apple.com/augmented-reality/arkit/

Mixable Reality
Diagram: care of PhD student Mafkereseb Bekele

Summer Intern Program: sharing different parts of embodiment
between participants, Agathe Limouzy 2018.
Shared Embodiment-Collab XR

XR in Student Workshops
Heritage Game Workshops
Student AR work Museum of Cinema, Turin
Italy

Thank you!
Erik Champion
Emeritus Professor, Curtin University
Honorary Research Professor, ANU
Honorary Research Fellow, UWA
erikchampion@gmail.com t:@nzerik
https://www.hidden.no/ IAN BRODIE

2019 DH downunder 9 December 2019 talk: Digital heritage, Virtual Heritage, Extended Reality (XR): what are they? Can gaming, AR or MR provide insight to the past? OR: Are they a waste of money, expensive new technology? Could, for example, digital heritage pose a threat to culture? Ziauddin Sardar 1995: “Cyberspace is a giant step forward towards museumization of the world: where anything remotely different from Western culture will exist only in digital form.” Digital Heritage highlights and challenges (interactive + immersive examples).

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TIPC 2 Online 2020 conference, virtual/Leiden This paper explores Assassin’s Creed: Odyssey as a way to explore idyllic historic landscapes and heritage sites with some degree of questing and simulated danger. It applies Assassin’s Creed: Odyssey in two ways, as discovery tour option mode and as a metaphor to explore in more general and speculative terms how questing and historical dilemmas and conflicts could be incorporated into both fan tourism and cultural/historical tourism (Politopoulos, Mol, Boom, & Ariese, 2019). Keza MacDonald views Assassin’s Creed as a virtual museum, Ubisoft regards it as the recovery of lost worlds: “ “We give access to a world that was lost” said Jean Guesdon (MacDonald, 2018). “Discovery Tour will allow a lot of our players to revisit this world with their kids, or even their parents.” Origins’ Discovery Tour mode “promises” educational enlightenment (Thier, 2018; Walker, 2018); Odyssey’s additional Story Creator Mode (Zagalo, 2020) adds personalized quests. Beyond the polaroid fun of sharing landscape selfies with other players and ancient history voyeurs across the Internet, there is also the prospect of “Video game–induced tourism: a new frontier for destination marketers” (Dubois & Gibbs, 2018). Plus physical location VR games. Game company Ubisoft created escape game VR and virtual tours inside physical exhibitions such as Assassin’s Creed VR – Temple of Anubis (Gamasutra Staff, 2019). Is there a market for historical playgrounds as virtual tourism?

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Conference keynote slides for Hainan Conference, November 2019, Hainan China. Virtual heritage is the combination of virtual reality and cultural heritage. It promises the best features of both, but is difficult to achieve in reality. Why is this so challenging? Has virtual reality offered more than tantalising glimpses of the future in the related fields of cultural heritage and tourism? The features virtual reality (VR) shares with mixed reality (MR) and augmented reality (AR) are mostly agreed upon, but there are at least two perplexing issues. Technological fusion implies imaginative fusion, and augmented reality had a previous ocular focus. Virtual reality as a term is also in danger of being replaced by the term XR. What is XR and why is it so potentially useful to heritage tourism? Given VR, AR, MR and XR are typically screen-based, how can screen tourism capitalize of cultural heritage and virtual reality, and on the unique selling points of XR? I will conclude with a few suggestions and projects we are currently working on or about to commence. Cite as: K8 Champion, E. (2019). Virtual Heritage, Gaming, & Cultural Tourism, 4th Boao International Tourism Communication Forum (ITCF), Hainan, China, 23-24 November. Interviewed on Chinese television. http://www.baitcf.com/index.php/Ch/Cms/Index/indexe

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Abstract. This paper discusses a simplified workflow and interactive learning opportunities for exporting map and location data using a free tool, Recogito into a Unity game environment with a simple virtual museum room template. The aim was to create simple interactive virtual museums for humanities scholars and students with a minimum of programming or gaming experience, while still allowing for interesting time-related tasks. The virtual environment template was created for the Oculus Quest and controllers but can be easily adapted to other head-mounted displays or run on a normal desktop computer. Although this is an experimental design, it is part of a project to increase the use of time-layered cultural data and related mapping technology by humanities researchers.

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The role of Visitor Centres in UNESCO Designated Sites Regional Workshop for Europe 30 September – 2 October 2018, Palermo (Italy) Thematic Session 3: Community engagement and community-oriented services. “The designations employed and the presentation of material throughout this document do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The ideas and opinions expressed in this publication are those of the authors; they are not necessarily those of UNESCO and do not commit the Organization”

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The development of three-dimensional (3D) models and the use of Augmented Reality (AR) in the field of cultural heritage consists an innovative process the recent years that provides the visitors of archaeological sites with additional information. This has been made possible due to achievements in digital technologies, communications, devices and developments in software engineering. Nevertheless, the research to fully make use of these new methods continues, as the potentials of new technologies have not been exploited. In archaeological sites, the production of 3D models for AR is focused on the virtual reconstruction of ruined monuments at their original form, aiming to give visitors the third dimension (height, volume etc.), especially to those who do not have special knowledge of archaeology. This paper describes an innovative approach of using AR for maintaining the memory and the information of monuments, as they have been originally excavated, but that are going to be back -filled due to the particularity of their material or their location. Also, the system architecture of the proposed scheme is described considering two study cases, a Neolithic settlement in the archaeological site of Halai, Lokris and the remains of a Classical Temple on open field of a hill in Thebes, Boeotia. Both mentioned monuments are under the direction of the American School of Classical Studies in Athens (ASCSA).

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In a few thousand years, 99% of the physical material of our cultural heritage we try to preserve today will be lost. An inconvenient fact for all stakeholders involved in the preservation of the actual objects which testify to the richness of our past; most will end up as undefinable dust. Destruction is omnipresent: earthquakes, tsunamis, fires, volcanos, time, hostile environments, flashlights, war, neglect, vandalism, collateral damage, and deliberate violations. Concerning the last, whether it is the destruction of heritage sites to make place for the Olympics in Beijing, the dynamiting of the Buddha’s of Bamiyan statues, the burning of the Timbuktu manuscripts or the demolishing of mausoleums of holy men in Syria and Iraq, people always seem to come up with justifying reasons. Our modern cities are built on the foundations of destructive progress. Strategies to overcome this must be formulated. The seven wonders of the world of which only the Giza Pyramids survived, have taken a central position in our understanding of great architectural accomplishments which were lost, to be remembered only thanks to ancient writings. Today the odds are more favorable. Over the last 150 years, architects, engineers, illustrators and archaeologists produced technical drawings of many heritage sites and artefacts. Digitalization projects and efforts are ongoing everywhere and imaging techniques allow reconstructions unthinkable up until recent times. But what to do with them? What is their accuracy? Do we have complete datasets linked with metadata? What is to be considered as a complete dataset? What has not been registered? Templates, protocols and standards should be developed to ensure their sustainability. When all of that is settled, if the original is lost, what gets preserved digitally, and what does not?

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Τhe development in the fields of Underwater Cultural Heritage (UCH) management and Maritime Archaeology, yields an interdisciplinary and creative academic framework, such as the Information and Communication Technologies (ICT) sector that has been proved to build intelligent systems and applications. However, the ways to fully make use of these technologies are still being explored, as their potential have not been exploited yet. Underwater archaeological sites, semi (/or fully) submerged settlements, ancient ports and shipwrecks, unlike land sites, are not accessible to public due to their special (sub) marine environment and depth. In this paper, an innovative research idea of using Augmented Reality (AR) for maintaining the memory and the information of underwater archaeological sites, is presented. Although the “artificial” visual documentation cannot replace the authentic values of the underwater tangible heritage, the AR technology can contribute to the protection of the intangible properties and the conquered knowledge of the past of a place. This research work will focus, among other case studies, on the (semi) submerged fortifications and their contiguous contents of the acropolis of Halai in east Lokris, Greece. Hence, along with the climate change that may lead more antiquities covered by water during the following years, the advances in the communication field and the up-coming 5G and cloud technologies will make the idea fully applicable, contributing to the enhancement of the coastal and the underwater archaeological remains.

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Displaying research data between archaeologists or to the general public is usually through linear presentations, timed or stepped through by a presenter. Through the use of motion tracking and gestures being tracked by a camera sensor, presenters can provide a more engaging experience to their audience, as they won't have to rely on prepared static media, timing, or a mouse. While low-cost camera tracking allow participants to have their gestures, movements, and group behaviour fed into the virtual environment, either directly (the presenter is streamed) or indirectly (a character represents the presenter). Using an 8 metre wide curved display (Figure 1) that can feature several on-screen panes at once, the audience can view the presenter next to a digital environment, with slides or movies or other presentation media triggered by the presenter’s hand or arm pointing at specific objects (Figure 2). An alternative is for a character inside the digital environment mirroring the body gestures of the presenter; where the virtual character points will trigger slides or other media that relates to the highlighted 3D objects in the digital scene.

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Abstract: Cultural geo-analytics (CGA) is an emergent area that studies the geographical dimension of the production and consumption of cultural objects, relying on digital data and spatial methods. In this talk, I will explore how, as GIS experts, we can fruitfully collaborate with researchers in cultural studies, media studies, and digital humanities to shape new interdisciplinary agendas. Given the conceptual and empirical centrality of place in CGA, I will then discuss the challenges in its representation in GIS by offering an overview of several case studies. 28 Apr 2022 Bio: Andrea Ballatore (he/him) is a Lecturer in Social and Cultural Informatics at King’s College London. From 2016 to 2021, he was employed as a Lecturer in Geographic Data Science at Birkbeck, University of London. Previously, he worked as a postdoctoral researcher at the Center for Spatial Studies at the University of California, Santa Barbara. In 2013, he completed a PhD in Computer Science at University College Dublin on geographic information retrieval and natural language processing. His current work combines cultural analytics and digital geographies, and is centred on collaborative projects with academic and corporate partners, including the Ordnance Survey and Facebook.

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Cultural Tourism XR

1. Cultural Tourism XR Erik Champion Emeritus Professor, Curtin University Honorary Research Professor, ANU Honorary Research Fellow, UWA E: erikchampion@gmail.com T:@nzerik *Note: Current background photo is subject to change ASEAN AUSTRALIA SMART CITIES WEBINAR SERIES: PROMOTING SMART TOURISM RECOVERY VIA VIRTUAL REALITY 2 March 2021, 1:00 –2:00 PM GMT+8, VIA ZOOM

2. Augmenting* Heritage • Rethinking Virtual Places (IUP, 2021). • Co-editing Assassin’s Creed in the Classroom, Museum and Gallery (De Gruyter, 2022). • Co-editing Screen Tourism & Affective Landscapes. • Edited Virtual Heritage: A Concise Guide (Ubiquity, 2021). • Edited The Phenomenology of Real and Virtual Places (Routledge, 2018). • Critical Gaming: Interactive History and Virtual Heritage (Routledge, 2016). • Playing with the Past (Springer, 2011). *https://erikchampion.wordpress.com/2020/05/23/vr-travel- and-tour-apps/

3. What is AR MR AV VR XR? What is a Virtuality? Mixed reality: classic explanation Wikipedia XR=“all the immersive technologies" (Forbes 2019) AR apps, addons, frameworks, game engines https://alisonjamesart.com/2017/03/12/what-is-a-virtuality/ What is Mixed Reality? Mark Billinghurst, 2017 L: Augmented Virtuality-user can see video of their real hands in VR Milgram Takemura Utsumi & Kishino (1994)

4. Extended Reality-audiences • XR/XR for Cultural Tourism • Aural response phone-based AR • Shared Embodiment • Screen tourism • Game-based transmedia • XR 215 billion dollar market in 2021? • Obsolescence https://edu.google.com/products/vr-ar/expeditions/ • Examples https://www.digitaltrends.com/mobile/best-augmented- reality-apps/ • Unreal game engine AR https://developers.google.com/ar/develop/unreal/quickstart • Google ARCore https://developers.google.com/ar/ (examples) • Apple ARKit https://developer.apple.com/augmented-reality/arkit/

5. Mixable Reality Diagram: care of PhD student Mafkereseb Bekele

6. Summer Intern Program: sharing different parts of embodiment between participants, Agathe Limouzy 2018. Shared Embodiment-Collab XR

7. XR in Student Workshops Heritage Game Workshops Student AR work Museum of Cinema, Turin Italy

8. Thank you! Erik Champion Emeritus Professor, Curtin University Honorary Research Professor, ANU Honorary Research Fellow, UWA erikchampion@gmail.com t:@nzerik https://www.hidden.no/ IAN BRODIE

Editor's Notes

Two players control one character (one has leap controller in bandana, one has HTC vive)…they have to cooperate to solve task…Agathe Limouzy, French intern, 3 months, Library makerspace

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Editor's Notes