Some notes on Screen Tourism VR and Cultural Heritage for 11 June event at the HIVE, Curtin University.
- We now carry a technical ecosystem of biofeedback GPS and camera tracking devices (phones and fit-bits and smartwatches) but so seldom use them creatively, synergistically and contextually (in terms of our locale).
- Archaeologists and others are so interested in games but there are so few examples of good group narrative. (Cut to photos of our game session at CAA2017, Georgia USA).
- Some recently supervised PhD projects (Rusaila Bazlamit, Palestine in Multi-wall Unity) or 360 panoramas of museum classic car collections (Beata Dawson) made me realize that contested spaces with digital heritage are often accidental but isn’t the audience dialogue created one of the most important aims in public heritage?
- Also, why is Mixed Reality so rare in Virtual Heritage, because AR and VR have so much market presence? Why are there so few mixed reality projects? Show Mafi’s figures! Explain pros and cons of VR MR and AR..
- Explain how collaborative learning and geolocation can help tell more contextual group-assisted stories..
- Brief overview of cultural tourism and personal narrative making tools (Twine; Cradle (Unity and Twine); Inkle)…
- How can film, film trailers, and location and personal adventures be mashed, mixed and augmented?
Google slides of the above presentation are here