Day 1 of #ComPDA conference (program) at the University of Cologne and authenticity is a big topic in Q&A
I wonder if
- a workshop session on writing a charter/guidelines on Authenticity in Digital and Interactive media would be of interest.
- A gane idea where exoloring and avoiding or collecting the most authentic would be part of the gameplay
- A tool inside a game/VE to show levels of contestation/interpretation/historical authenticity can reveal the schema/paradata postplay or preplay..
Xavier from Edinburgh is now talking about the exciting non educatonal aspects of Assassin’s Creed (Origins vs Odyssey for example) – I wonder if someone has done a survey of the game assets/narratives and scored/compared their educational/authentic-inauthentic/’fun’ levels and areas. Are fun and education really always directly opposed in these sort of games?
A French student Agathe Limouzy (Toulouse) was an intern here at Curtin, I mentored her for a game design project. It was supposed to be cyber-archaeology but morphed slightly into a two person controlling single character climbing game, using an HTC Vive and a leap Controller (tracking hands) attached via a bandana. The person with the Leap can climb or send hand directions to the person in the head mounted display, who controls the legs.
Short video at: https://twitter.com/curtinmakers/status/1042714070120448000
If you are in Perth 11 June please sign up on EventBrite to this free event:
Imagined Spaces in Real Places (Screen Tourism, VR & Cultural Heritage)
There is a burgeoning global tourist trade for places – both real and imaginary – inspired by cultural texts and their creators. While Stratford-upon-Avon has long been a mecca for Shakespeare enthusiasts, (popular) cultural tourism has now extended the bucket list of travel destinations to include the likes of Westeros (aka Dubrovnik, Croatia; Game of Thrones) and Middle-earth (aka New Zealand; The Lord of the Rings). This Symposium brings together scholars and presenters from industry to discuss how screen-based tourism (film, television) can be a generative force in local economies, in region/nation branding, and as a way of promoting cultural heritage. The potential and practical application of technology – specifically virtual reality, locative apps and interactive media – in facilitating an immersive touristic experience, visualising place and creating narrative will also be explored.
Monday 11 June 20181-4:30PM (Presentations start at 1pm, finish approx. 4:30pm. HIVE opens at 12:30pm).
Venue: Curtin University HIVE (VR Centre), John Curtin Gallery, Kent Street, Curitn Bentley campus WA 6102
Event organisers: Christina Lee, Erik Champion
Keynote speaker: Ian Brodie (http://www.ianbrodie.net/)
Other presenters include: Dr Christina Lee, Professor Erik Champion, Mat Lewis (Southwest Development Commission), Professor Sue Beeton (teleconference).
Phone: (08) 9266 9024 (HIVE).
Map link https://goo.gl/maps/FZu8FaEaULt (in John Curtin Gallery opposite Aroma Café)
For those interested in the above, please keep Friday 27 July 2018, open for an all-day free event in Perth.
We will be inviting speakers to talk on Australia-specific cultural issues and digital (geo) projects in relation to the above event.
More details to follow shortly and announced via http://commons.pelagios.org/:
Australia LAMLOD Group: led by Erik Champion (UNESCO Chair of Cultural Visualisation and Heritage, Curtin University) and Susan Fayad (City of Ballarat), this WG seeks to address the problem of linking materials between academic research and cultural heritage in an Australian context. This is not so much about extending Pelagios linked data practice to an entirely new continent, though that is important; the problem this WG seeks to address is the multi-layered and contentious representation of cultural heritage, namely: the vast scale of Australian landscapes and historic journeys; the local and highly specific Aboriginal ways of describing, navigating and experiencing the landscapes with hundreds of different languages; and the specific problem of integrating UNESCO designated built and natural heritage with its surrounding ecosystems. The LAMLOD WG will create landscape data and visualisation displays, investigate related cultural artefact knowledge (Indigenous and colonial), and build towards the integration of linked open data and 3D models.
Integrating 3d Models and GIS for Digital Cultural Heritage
Recent advances in technology have helped make the capture and modelling of 3D digital cultural objects increasingly affordable. Ever growing numbers of cultural institutions have been digitizing their digital artefacts and sites. Regards the availability of 3D geometric modelling methods and 3D file formats, there are hundreds to choose from. However, an extremely challenging task is to identify the most appropriate 3D geometric modelling method and file format for the specific purposes of digital cultural heritage. In order to overcome those challenges, this paper first summarizes the most-common 3D geometric modelling methods such as constructive solid geometry, non-uniform rational B-splines, triangle meshes, and discusses their advantages, disadvantages and their typical application in the digital cultural heritage domain. Second, various 3D file formats are systematically analysed and discussed, with particular reference to architecture, to archaeology and to heritage studies. Third, future possibilities of 3D file formats and their potential for linking with Geographic Information Systems (GIS) and geospatial databases are outlined. What are the successful exemplars but also major challenges for linking GIS, 3D models and heritage aims? Where do these modelling methods, formats, aims and disciplines converge or diverge? Would such combinations create major problems for archives?
Keywords: 3D geometric modelling, 3D file formats, 3D archives, digital cultural heritage
Ikrom Nishanbaev, Erik Champion, Hafizur Rahaman, Mafkereseb Bekele
My new chapter, A Schematic Division of Game-Learning Strategies Relevant to Digital Archaeology and Digital Cultural Heritage (in Spanish) is out. Diego the editor informed me he will see if all chapters can be available via PDF.
Champion, E. (2017). Una división esquemática de estrategias de aprendizaje relevantes para el patrimonio cultural basadas en juegos digitales (A Schematic Division of Game-Learning Strategies Relevant to Digital Archaeology and Digital Cultural Heritage). In D. Jiménez-Badillo (Ed.), Arqueología Computacional. Nuevos enfoques para el análisis y la difusión del patrimonio cultural (pp. 217-224). México: Instituto Nacional de Antropología e Historia, RedTDPC, CONACYT. Chapter 14_Champion_PDF
Just submitted a draft of the above edited book of 14 proposed chapters to Routledge, to their Research in Phenomenology series.
The Phenomenology of Virtual Places is an edited book on the history, implications and usefulness of phenomenology for real places and virtual places, with chapters by philosophers, cultural geographers, architects and archaeologists.
I won’t summarize the chapters right now as the series editors have the right to ask for major subtractions, additions and revisions but I am very happy about the range of disciplines, perspectives and topics.
I do have some observations
- One thing very much under-represented is the unconventional, the alternative and the non-Western or not so obviously Western (and I don’t like the term “Western” but what are better options here)?
- Also, the connections and distinctions between phenomenology and ethnography are perhaps still to be explored, especially for game and VR evaluation.
- Phenomenology deserves even more criticism. It is either obvious, or difficult and subtle, available to all or best practiced by trained phenomenologists (or is that, people trained to detect or extract or train phenomenological accounts).
- Writing introductions to edited books can be very difficult.
- How HMDs will challenge our notions of embodiment and social presence in VR will be a very big thing.
- Locative media raise very interesting research avenues for embodiment and the concept of place.
- And on a workflow-related note, if the publisher doesn’t give you a complete, formal template at the start, stick to your own and demand it be used by all authors even if the final template changes. Saves a world of pain.
- Also, game and VR companies would save us all trouble by clearly saying which screenshots can be used in academic books or provide a pathway for a quicker permissions/rejections process. If your images are in a book, it is free PR!