Was one of two book covers possible and I think due to some email confusion they didn’t choose my preferred cover but I really appreciate permission by Dr Anthony Masinton to use his rendered image. The publisher of Rethinking Virtual Places will be Indiana University Press, via their Spatial Humanities Series.
Champion, E. (2020). Culturally Significant Presence in Single-player Computer Games. Journal on Computing and Cultural Heritage, 13(4). doi:10.1145/3414831. https://dl.acm.org/doi/10.1145/3414831
Cultural presence is a term used to explain and evaluate cultural learning in virtual heritage projects but is less frequently used for video games. Given the increasing importance of video games to cultural heritage, this article investigates explanations of cultural presence that could be communicated by games, especially concerning UNESCO and ICOMOS definitions of cultural significance. The aim is to determine if cultural presence can be communicated via video games and across a range of game genres.
Observations derived from game prototyping workshops for history and heritage aided the development of a teachable list of desirable game elements. To distinguish itself from the vagueness surrounding theories of cultural presence, a theory of culturally significant presence is proposed. Culturally significant presence requires three components: culturally significant artifacts and practices; an overarching framework of a singular, identifiable cultural viewpoint; and awareness by the participant of both the culturally significant and the overarching cultural framework and perspective (which gives sites, artifacts, and practices their cultural significance and relational value).
As awareness of cultural presence requires time for reflection, single-player games were chosen that were not completely dependent on time-based challenges. Another criterion was cultural heritage content: They must simulate aspects of heritage and history, communicate a specific cultural framework, or explore and reconstruct a past culture. Four games were chosen that simulate a culture, explain archaeological methods, portray indigenous intangible heritage, or explain historical-based ecosystems of the past based on educational guidelines. The games are Assassin’s Creed: Origins; Heaven’s Vault; Never Alone; and a Ph.D. project: Saxon. Their genres could be described as first-person shooter/open world/virtual tour; dialogue-based puzzle game; 2D platform game; and turn-based strategy game.
The aim is not to evaluate the entire range of interactive virtual environments and games, but to examine the applicability and relevance of this new theory and to ascertain whether the four games provided useful feedback on the concept and usefulness of culturally significant presence. A more clearly demarcated theory may not only help focus evaluation studies but also encourage game developers to modify or allow modification of commercial games for classroom teaching of digital heritage.
oh and examining PhD theses…
Awaiting news of European and Australian grant applications.
New article out today:
Dawson B, Joseph P, Champion E. Evaluating User Experience of a Multimedia Storyteller Panorama Tour: The Story of the Markham Car Collection. Collections. 2020;16(3):251-278. doi:10.1177/1550190620940966. URL: https://journals.sagepub.com/doi/10.1177/1550190620940966
A storyteller panorama tour, The Story of the Markam Car Collection, was developed as an example for museums and cultural institutions concerning the use of panoramas combined with multimedia to tell stories of specific large objects (antique cars). It was designed for multiple platforms to involve and engage audiences via large curved screens while allowing for access via portable devices. Understanding users’ requirements is essential when designing and developing virtual museum tours. Measuring digital productions’ usability is an ongoing challenge that affects the improvement of user experience and the actual output. A variety of techniques and approaches are available to test digital productions’ usability and the related user experience. It is possible to measure and evaluate the production’s usefulness, including users’ engagement and understanding. However, the best method for assessing museum-related digital productions varies depending on aims, capacity, audience, and local context. In this paper, we demonstrate the strategy we employed to evaluate the particular storyteller panorama tour’s usability, user experience, engagement, and resulting audience understanding. The results of the evaluations showed that storyteller panorama tours could be an effective, attractive, and engaging storyteller method for cultural institutions. However, the findings also indicated that the users’ age, gender, and computer-related experience influence the use and enjoyment levels. We share our experiences and offer an example of how to evaluate a storyteller panorama tour. We believe that the presented evaluation strategy would be applicable to other museum-related projects, as well.
“A Comparative Evaluation of Geospatial Semantic Web Frameworks for Cultural Heritage” has been published in Heritage and is available online.
by Ikrom Nishanbaev 1,*, Ear Zow Digital 1,2,3 and David A. McMeekin 4,5
Abstract:
Recently, many Resource Description Framework (RDF) data generation tools have been developed to convert geospatial and non-geospatial data into RDF data. Furthermore, there are several interlinking frameworks that find semantically equivalent geospatial resources in related RDF data sources. However, many existing Linked Open Data sources are currently sparsely interlinked. Also, many RDF generation and interlinking frameworks require a solid knowledge of Semantic Web and Geospatial Semantic Web concepts to successfully deploy them. This article comparatively evaluates features and functionality of the current state-of-the-art geospatial RDF generation tools and interlinking frameworks. This evaluation is specifically performed for cultural heritage researchers and professionals who have limited expertise in computer programming. Hence, a set of criteria has been defined to facilitate the selection of tools and frameworks. In addition, the article provides a methodology to generate geospatial cultural heritage RDF data and to interlink it with the related RDF data. This methodology uses a CIDOC Conceptual Reference Model (CRM) ontology and interlinks the RDF data with DBpedia. Although this methodology has been developed for cultural heritage researchers and professionals, it may also be used by other domain professionals.
PDF Version: https://www.mdpi.com/2571-9408/3/3/48/pdf
I’m very happy that my rather large article “Culturally Significant Presence
In Single-Player Computer Games” has been accepted for the ACM Journal on Computing and Cultural Heritage. This is despite its 12,587 words covering 4 major games, and attempting to be more conceptual and provocative than normal in a traditional ACM IT-oriented journal..
Very good reviewers too, actually. They made me work hard. I think my abstract is a bit over JOCCH length so that may change but at moment it is:
Cultural presence is a term that researchers have used to explain and evaluate cultural learning in virtual heritage projects, but less frequently in video games. Given the increasing importance of video games to cultural heritage, this paper investigates explanations of cultural presence that could be communicated by games, especially concerning UNESCO and ICOMOS definitions of cultural significance. The aim is to determine if cultural presence can be communicated via video games and across a range of game genres.
Observations derived from game prototyping workshops for history and heritage were incorporated to help develop a teachable list of desirable game elements. To distinguish itself from the vagueness surrounding theories of cultural presence, a theory of culturally significant presence is proposed. Culturally significant presence requires three components: culturally significant artifacts and practices; an overarching framework of a singular, identifiable cultural viewpoint; and awareness by the participant of both the culturally significant and the overarching cultural framework and perspective (which gives cultural heritage sites, artifacts and practices their cultural significance and relational value).
As awareness of cultural presence requires time to reflect upon, single-player games were chosen that were not completely dependent on time-based challenges. Another criterion was cultural heritage content, the games must simulate aspects of cultural heritage and history, communicate a specific cultural framework, or explore and reconstruct a past culture. Four games were chosen that simulate a culture, explain archaeological methods, portray indigenous intangible heritage, or explain historical-based ecosystems of the past based on educational guidelines. The games are Assassin’s Creed: Origins (and its Discovery Tour); Heaven’s Vault; Never Alone; and a Ph.D. game project: Saxon. Their genres could be described as first-person shooter/open world/virtual tour; dialogue-based puzzle game; 2D platform game; and turn-based strategy game.
The aim is not to evaluate the entire range of interactive and immersive virtual environments and games, but to examine the applicability and relevance of the new theory, and to ascertain whether the four games provided useful feedback on the concept and usefulness of culturally significant presence. A more clearly demarcated theory of cultural presence may not only help focus evaluation studies but also encourage game developers to modify or allow the modification of commercial games for classroom teaching of digital heritage. Game content, core gameplay, secondary gameplay, and game mechanics could be modified to engagingly compel players to consider cultural heritage values and perspectives that are not their own.
The Phenomenology of Real and Virtual Places
In preprint, not proofed and not correctly paginated version, is available.
This is an Accepted Manuscript of book chapters published by Routledge in Phenomenology of Real and Virtual Places, in 2018, the proofed, official version is available for purchase online: https://doi.org/10.4324/9781315106267 OR https://www.taylorfrancis.com/books/e/9781315106267
Or you can download the chapters from this link: The Phenomenology of Real and Virtual Places
I mentioned this before (it went through 3 years of reviews) but the (updated) Rethinking Virtual Places book (97,000 words, approx 30 images) will be published by Indiana University Press in The Spatial Humanities series. Probably in 2021.
| 1-A Potted History of Virtual Reality |
| 2-Dead, Dying, Failed Worlds |
| 3-Architecture: Places Without People |
| 4-Theories of Place & Cyberspace |
| 5-Rats & Goosebumps-Mind, Body & Embodiment |
| 6-Games are not Interactive Places |
| 7-Do Serious Gamers Learn From Place? |
| 8-Cultural Places |
| 9-Evaluating Sense of Place, Virtual Places & Virtual Worlds |
| 10-Place-Making Interfaces & Platforms |
| 11-Conclusion |
I’ve been thinking of asking historians, art historians and archaeologists, if they would like to contribute to a new edited book, primarily (or only) on Assassin’s Creed. How do they or could they use it for teaching and research. What new features would they love to see? Could we get some of the professional historians who advised on the series to write their thoughts, advice, and experiences? Perhaps even one of the game designers who worked on the series?
What would be a good title?
References
Dr Hafizur Rahaman and I will have an article on virtual /digital 3D heritage repositories published/in press at open-access journal Virtual Archaeology Review – they have interesting articles in press I recommend the journal.
The article is called Survey of 3D Digital Heritage Repositories and Platforms, update: an early version is online:
Champion, E., & Rahaman, H. (2020). Survey of 3D Digital Heritage Repositories and Platforms. The Virtual Archaeology Review (VAR), 11(23). https://doi.org/10.4995/var.2020.13226
Despite the increasing number of three-dimensional (3D) model portals and online repositories catering for digital heritage scholars, students and interested members of the general public, there are very few recent academic publications that offer a critical analysis when reviewing the relative potential of these portals and online repositories. Solid reviews of the features and functions they offer are insufficient; there is also a lack of explanations as to how these assets and their related functionality can further the digital heritage (and virtual heritage) field, and help in the preservation, maintenance, and promotion of real-world 3D heritage sites and assets. What features do they offer? How could their feature list better cater for the needs of the GLAM (galleries, libraries, archives and museums) sector?
This article’s priority is to examine the useful features of 8 institutional and 11 commercial repositories designed specifically to host 3D digital models. The available features of their associated 3D viewers, where applicable, are also analysed, connecting recommendations for future-proofing with the need to address current gaps and weaknesses in the scholarly field of 3D digital heritage. Many projects do not address the requirements stipulated by charters, such as access, reusability, and preservation. The lack of preservation strategies and examples highlights the oxymoronic nature of virtual heritage (oxymoronic in the sense that the virtual heritage projects themselves are seldom preserved). To study these concerns, six criteria for gauging the usefulness of the 3D repositories to host 3D digital models and related digital assets are suggested. The authors also provide 13 features that would be useful additions for their 3D viewers.
Hello, with eight authors for eight chapters I am proposing a concise guide on virtual heritage to publishers. I believe I have been allowed UNESCO chair/Curtin funding to pay publishing open access fees (so the book can be free as online PDFs) and hopefully reasonably priced to purchase.
I believer we now have two recommendations for external reviewers but we still need to get all author chapter abstracts ready and the proposal to the publisher for approval. Each chapter will be a taut 3500 words with 1-3 images.
Given the book is aimed at graduate or senior undergraduate students who may not be familiar with an overview or specific topics of virtual heritage, what title is best?
Virtual Heritage in Focus?
Virtual Heritage: A Concise Guide?
Also, are we missing an important chapter/theme subject?
Foreword: Classrooms and Projects
Preamble
Glossary
According to Routledge’s online article “Publishing Open Access Books: Chapters” I am allowed to archive a preprint copy on my own site or the site of my institute (but not the published version). Please remember there may be slight variations to the published chapter. My thanks to Associate Professor Anna Foka, (Humlab and Uppsala University) for being such a wonderful co-author and collaborator.
To cite the article (in APA format):
Champion, E., & Foka, A. (2020). Art History, Heritage Games, and Virtual Reality. In K. J. Brown (Ed.), The Routledge Companion to Digital Humanities and Art History, (pp. 238-253). Oxford, UK: Routledge.
DOI is: https://doi.org/10.4324/9780429505188
Preprint chapter:
I have written a book on the above which looks like (touch wood) will go into production.
I have about 30 images in the planned book but am wondering if I can or should place there an image (8×11 inches, landscape orientation or portrait if there is an area for the cover page text). Do any of the below look ok? Or should I ask a game company for screenshot permission?
Chapter titles are:
1 A Potted History of Virtual Reality
2 Dead, Dying, Failed Worlds
3 Architecture: Places Without People
4 Theories of Place & Cyberspace
5 Rats & Goosebumps-Mind, Body & Embodiment
6 Games are not Interactive Places
7 Do Serious Gamers Learn From Place?
8 Cultural Places
9 Evaluating Sense of Place, Virtual Places & Virtual Worlds
10 Place-Making Interfaces & Platforms
11 Conclusion
Initial image: Microsoft HoloLens in the Duyfken showing mixed reality maps and 3D models (Mafkereseb Bekele PhD project); Ikrom Nishanbaev and Susan at Ballarat Heritage Weekend, Ballarat Town Hall; Ikrom and public member, Ballarat; the HoloLens demo’d at the WA State Archives..
| PUBLISHER | POUNDS | USD | EURO | AUD |
| Punctum | £2,490 | USD 3,000 | 2,789 € | AUD 4,681 |
| Ubiquity Press | £3,650 | USD 4,417 | 4,088 € | AUD 6,862 |
| White Rose | £6,000 | USD 7,260 | 6,720 € | AUD 11,280 |
| Bloomsbury | £6,500 | USD 7,865 | 7,280 € | AUD 12,220 |
| Amsterdam | £6,950 | USD 8,410 | 7,784 € | AUD 13,066 |
| Routledge | £10,000 | USD 13,000 | ? | AUD 18,800 |
| Springer | £11,000 | USD 15,000 | 11,000 € | AUD 20,680 |
NB Ubiquity Press lists some handy links for funds for open access book publishing.
Cultural Heritage Infrastructures in Digital Humanities (2017) is free to access for one week, get free access to the book (via this link) for 7 days.
After this 7-day period, you can buy a copy for £10/$15!
You can also visit the official Routledge History, Heritage Studies etc. Twitter page
and thanks to Routledge editor Heidi Lowther.
Critical Gaming: Interactive History and Virtual Heritage (2015 edition) is in a Routledge campaign for May (2020), which allows anyone to register and get free access to the book (via this link) for 7 days. After this 7-day period, they can buy a copy for £10/$15! *Trust me this is a lot cheaper than before!
Also check out the official Routledge History, Heritage Studies etc. Twitter page
Is there a catch? I honestly don’t know but don’t think so!
Routledge is running a monograph sale through June 11th. Readers can now access The Phenomenology of Real and Virtual Places free-of-charge for seven days. At the end of the trial period, they’ll have the opportunity to purchase the eBook for £10/$15.
Here are the links to the offer.
I am often asked to mail commercial books, sorry I normally have to refuse. However, there are recent-ish publications that are open access. allowed via institutional repositories or were free to download, that I have written down here:
Books
Book Chapters
Journal articles
Conference paper
Traditionally, art history has been viewed as a concern about the context of creation, curation, critique, and classification of art, but its range and focus is seldom agreed on. A conventional view of art history may suggest that, as a field, it is dedicated to issues of classification and the development of related expertise in curation and critique. Yet, if we follow the arguments of the nineteenth-century philosopher Konrad Fiedler, 1 knowledge of historical form does not necessarily entail a knowledge of art, while knowledge of the history of art does not necessarily give one an understanding of art objects themselves, the material and symbolic qualities of an object of art, or deeper questions relating to the ontology of art.
update: we are allowed to upload author preproofs of our chapter and given the book is 524 pages, 34 authors and $319.20 Australian dollars in hardback format, that should make it more accessible. I will provide a link here when accepted at Curtin research espace.
Infrastructure Requirements For A World Heritage Archival Infrastructure
Conference: DH2015 UWS Sydney
Here are notes from a short talk at Digital Humanities 2015 conference, Sydney. Never published. Writing a new paper on digital and virtual heritage infrastructures at the moment. So much of the below to update!
https://twitter.com/plevy/status/433058523836985344/photo/1
IBM estimates 90% of the world’s data has been created in last 2 years alone.. Minecraft Denmark created at 1:1 (1tb data, 4000 billion bricks) but blown up by US hackers, refer http://blogs.lse.ac.uk/impactofsocialsciences/2014/07/07/reproducible-computing-rctrack-big-data-challenge/
Digital Humanities and Open Access: An Interview with Brett Bobley of the National Endowment for the Humanities
Check out the citation rates for different fields especially humanities at the bottom.
Recomposing Scholarship: The critical ingredients for a more inclusive scholarly communication system, http://blogs.lse.ac.uk/impactofsocialsciences/2013/10/25/gray-recomposing-scholarship/
Cultural heritage tools and archives 2013 workshop
Digital Heritage 2013
note: digital heritage 2015 Granada Spain 5-9 Oct
APA Bologna model
Blender (interactive in OpenSceneGraph)
NEH idea: Hold two workshops a year apart, with technical support working on projects discussed in the interim..
UCLA VSim real-time exploration of highly detailed, 3D computer models
Ear Zow Digital