I was asked on ABC radio today if there is an online directory of all the great VR projects (travel, tourism etc). Either that or a way for searching for VR projects by specific formats, directly.
I don’t know of any but there should be-would make a great archival research project as well (reason: challenging!). Should I talk to Google?
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
I just received an article submission back with major revisions required. For a computing related journal. I actually appreciated the comments but that is not the point of the post. What struck me was a comment that my article was a bit philosophical / theoretical for an applied computing-related journal.
Deciding what is or should be computational is actually a very deep decision.
I wonder how many of the people who work with computers (especially virtual reality) have read this article, written a mere 75 years ago..
“Consider a future device … in which an individual stores all his books, records, and communications, and which is mechanized so that it may be consulted with exceeding speed and flexibility. It is an enlarged intimate supplement to his memory.“
-”Vannevar Bush, July 1945 Issue, The Atlantic
Featured image is from https://www.defense.gov/observe/photo-gallery/igphoto/2001104527/
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:
The Financial Times has published an article entitled “Could this be the moment virtual-reality travel finally takes off?” (You may have to answer a survey to read the article):
“The cartoonish game is less R&R, “more a place of decompression as action”, says Andrew Eiche, chief technology officer at Vacation Simulator’s developer, Owlchemy Labs. He is sceptical that today’s VR headsets are powerful enough to deliver truly realistic recreations of places such as the Sistine Chapel. “Is it really any different to looking at it on a monitor?” he says. “You need to go beyond looking to acting — that is where VR really excels.”
Examples include https://grandtour.myswitzerland.com/ and https://www.virtualyosemite.org/ especially https://www.virtualyosemite.org/virtual-tour/
What are the best VR tours and travel apps? This is a small subset of the best VR apps (the best VR apps according to digital trends).
A company has also made a VR (well, Cinematic/360 VR) of Antarctica (“VR in the freezer”) that is touring Australian museums, and will tour internationally.
CULTURAL HERITAGE
A travel and leisure online article has already suggested VR tours can help relieve the boredom of pandemic lockdowns:
But there is a way to get a little culture and education while you’re confined to your home. According to Fast Company, Google Arts & Culture teamed up with over 2500 museums and galleries around the world to bring anyone and everyone virtual tours and online exhibits of some of the most famous museums around the world..
Two months ago the Guardian reviewed the world’s best virtual museum and art gallery tours.
Generally these are 360 panoramas, not true VR, but there are convenient tools to help you create your own panoVR (cinematic VR).
Lifewire has listed “7 Great Virtual Reality Travel Experiences”. One example of note is the VR Museum of Fine Art.
There are also projects taking off using live guides through the web with a camera, or who take you on a tour of a real museum with a real but physically remote guide/curator so that museums can still be quasi-open during lockdown.
An example of remote tourism is by the Faroes Islands, a very isolated Scandinavian island nation. They also explain their project:
Via a mobile, tablet or PC, you can explore the Faroes’ rugged mountains, see close-up its cascading waterfalls and spot the traditional grass-roofed houses by interacting – live – with a local Faroese, who will act as your eyes and body on a virtual exploratory tour.
The local is equipped with a live video camera, allowing you to not only see views from an on-the-spot perspective, but also to control where and how they explore using a joypad to turn, walk, run or even jump!
Via a mobile, tablet or PC, you can explore the Faroes’ rugged mountains, see close-up its cascading waterfalls and spot the traditional grass-roofed houses by interacting – live – with a local Faroese, who will act as your eyes and body on a virtual exploratory tour.
The local is equipped with a live video camera, allowing you to not only see views from an on-the-spot perspective, but also to control where and how they explore using a joypad to turn, walk, run or even jump!
VR focus has an interesting article on the development of VR for tourism, and the Virtual Segovia project sounds like it is worth keeping tabs on.
Now before we look at the commercial VR content stores, there are cultural heritage organizations with VR tour/travel content. Some are available via Google .
Europeana
An online portal of major European libraries and museum collections, they have vintage stereo VR and examples of how to create stories and lessons with the stereoVR prints.
For example, Google Earth and Google Earth Voyager (with sections on editors picks, games, layers, quizzes, nature, travel, education).
There is Google Earth VR https://arvr.google.com/earth/ for VIVE and OCULUS headsets (HMDs).
Even Google Streetview can be viewed in Google VR https://www.blog.google/products/google-vr/get-closer-look-street-view-google-earth-vr/
“The new version of Earth VR is available today for the HTC Vive and Oculus Rift. And if you don’t have one of those systems, you can still check out Street View in VR with your phone—just download the Street View app for Daydream and Cardboard.”
https://artsandculture.google.com/ is a wonderful sight and also has scavenger hunts, at, for example the British Museum.
There are also “virtual tours” based on Google Street View. For example, you can “virtually” visit Chernobyl. Here is an abandoned roller coaster.
An open source alternative to Google Maps is Open Street Map (OSM). There is a youtube video explaining how OSM data can be used with WebVR (“2019: VR Map: Using OSM Data In a WebVR Environment VRmap on Github”) and the app vrmap can be downloaded via Github.
Online/VR Models for Cultural Tourism/Travel
You can also visit online and via VR headsets repositories of 3D models of buildings and landscapes.
The Smithsonian allows you to view tour and download 3D artefacts and has interesting content, such as the Virtual Tour and the VR Hangar.
Sketchfab
But the biggest online 3D/VR repository is arguably Sketchfab. Sketchfab has a Cultural Heritage + History section.
Eg Hagios Aberkios (Theotokos) Monastery Church 9th from Cultural Heritage and History Top 10 – 2020 wk 21
Sketchfab also has a places and travel section.
CYARK is a volunteer organization that has scanned major cultural heritage monuments uses Sketchfab to present their models.
Minecraft VR
For something lighter, families can also visit Minecraft VR “PLUNGE INTO THIS NEW MINECRAFT DIMENSION ON OCULUS RIFT, WINDOWS MIXED REALITY, AND GEAR VR” and a trailer is on Youtube.
Games
Commercial game companies like Ubisoft have explored creating escape game VR and virtual tours inside physical exhibitions such as
Assassin’s Creed VR – Temple of Anubis. Gamasutra has explained their design process for these VR escape rooms.
“At XRDC in San Francisco today Ubisoft Dusseldorf’s Cyril Voiron took to the stage to talk a bit about his work on Ubisoft’s Escape Games, virtual reality experiences that challenge players to escape virtual puzzle rooms.”
NB Trotech exhibited a physical location VR game demo in 2018.
Like brains on your journeys? Not exactly tourism, but some VR games have an element of real-world tourism.
“Face all the horrors that the living and the dead can offer in this new VR adventure in The Walking Dead universe. Travel through the ruins of walker infested New Orleans as you fight, sneak, scavenge, and survive each day unraveling a city wide mystery within the iconic quarters. Encounter desperate factions and lone survivors who could be friend or foe. Whether you help others or take what you want by force, every choice you make has consequences. What kind of survivor will you be for the people of NOLA?”
Or do you want to explore alien worlds? “The latest update from Hello Games adds a whole host of much-requested features to No Man’s Sky, including full, end-to-end support for PlayStation VR.”
One can even “tour” medieval fantasy worlds, or at least the modifications (mods) that are created using the free game creation tools. Here I am referring to Skyrim VR. Can it handle mods? With certain caveats, yes (on PC that is). You can buy it on Steam. Requires Vive, Rift, Valve Index or Windows Mixed Reality. ($89.95 AUD)
COMMERCIAL STORES
Via stores with content for specific HMDs, you can also find VR travel locations. For example, the oculus store lists travel and tourism apps for the OCULUS Quest, RIFT, GO, Gear VR. Enter “travel” into the search bar for each device.
Oculus Rift/Rift S
For example for the Oculus Rift you can visit the “travel” Pantheon Tallinn, Rome Reborn, Patagonia or in Australia, “Claustral Canyon” in Sydney NSW (Rift, Rift S)
Quest
Enter the quest part of the Oculus website and search for travel.
Examples:
Gear
Navigate to the Gear VR Section of the Oculus site and search for travel.
Specific Examples:
Google App store
Enter travel VR into the search bar or tour VR
Apple App store (for Apple phones)
Viveport (HTC)
Viveport is an online app store for the primary VIVE and Oculus headsets/Windows and has some travel content VR apps
Current HMD costs/availability
Don’t have a suitable Head Mounted Display? Choice au have a useful guide.
Google Daydream standalone or smartphone VR
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..
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!
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
Cultural heritage journals, especially digital heritage journals (and a few related conferences) don’t fare well at SJR-Journal Search. Compare their H-index and Quartiles to games journals and conferences. In the more VR side of things, Presence still does quite well but Virtual Reality journal is not doing as well as I expected.*
*CAVEAT: In many cases the latest figures seem to be from 2017 or 2018.
Final internal review for my latest book draft was highly complementary so if given final permission by the board, it should be published in IUP’s Spatial Humanities Series next year…
It becomes clear that the work stands on the shoulders of the research conducted by the author of many years. The topic of the manuscripts intersects greatly with many scholars’ research. It is hence of significant importance to many who engage in the generation and designing of places in virtual environments. The manuscript undoubtedly makes an impressive contribution to learn the author’s standpoint and see through his lens the research and developments of the field.C
Chapter One explores the innovation and wilder inventions of early virtual environments and computer games. Have these developments, along with the increasing popularity of science fiction, promulgated fertile concepts of virtual places? I will suggest they have not.
Chapter Two explores the early development of virtual worlds, and game-worlds. Despite the hype of early virtual worlds, they, along with virtual museums (Huhtamo 2010), have seldom managed to capture and retain worthwhile visitor numbers (Styliani et al. 2009). What were the main features and attractions of virtual museums? Why have they gone in and out of fashion and have they actually been of any benefit to real-world museums? I will specifically look at how they use or change the use of space, and which if any place affordances were used in their design. I will then look briefly at the changing commercial and community virtual worlds that were developed, grew and fell during the last two decades.
Chapter Three discusses the representation-orientated and essentialist nature of major architectural theories. The second half of this chapter describes related design tools and asks a question of the training of architects for designing virtual places. If architects are not trained in usability and interaction design principles, how can they design engaging and profound interaction in these virtual worlds? Are traditional devices and technologies for designing, experiencing, and reflecting on place in danger of being lost in this digital era?
Chapter Four summarizes relevant philosophical exploration of real places and extrapolates them to virtual places and to notions of cyberspace. Related concepts discussed include the notion of VR as control, realism, authenticity and presence.
Chapter Five overviews select recent developments in neuroscience and how they may help our understanding of how people experience, store and recollect place-related experiences. Can these discoveries help our design of virtual places? Do philosophical explanations of memory and place (Ihde 2002, Tavanti and Lind 2001) reflect recent discoveries in scientific experiments (Farovik et al. 2015)? Can science help us better design virtual places (Johnson 2013, Moore 2005)? Do they explain how people navigate and orient themselves in virtual places (Cockburn 2004, Zimring and Dalton 2003)? The second part of Chapter Five discusses the importance of affordances and the confusion surrounding them.
Understanding game mechanics is of great relevance to virtual place designers, Chapter Six summarizes conflicting definitions of game mechanics and an explanation of different types of game mechanics suited to differing design purposes. This chapter also briefly discusses gamification.
Chapter Seven asks “Do Serious Gamers Learn from Place?” We could summarize this concern in the following three questions: do we know if learning has taken place, if it has taken place effectively, and if the knowledge that resulted from the learning is transferable? In contrast to James Gee (Gee 2003) I do not believe that all games are good games, and that all games are therefore good learning environments but in I will discuss procedural rhetoric and whether serious games help people engage with pedagogical objectives of humanities subjects.
Chapter Eight focuses on the relationship of culture to place. This chapter revisits definitions of culture, explores how culture can be communicated and understood in virtual places (transmissions), and determines whether there are specific requirements with virtual worlds. I also discuss the importance of roles, rituals and agents. In order to measure how closely culture can be observed, appreciated or understood through virtual environments, I have suggested that cultural presence be defined as the feeling of being in the presence of a similar or distinctly different cultural belief system (Champion 2011).
Chapter Nine explores evaluation methods (both traditional and recent), which address the complicated problem of understanding how people evaluate places, and whether this knowledge can be directly applied to the evaluation of virtual places. How do they get around the problem of the newness of virtual reality or the subjectivity/objectivity debates surrounding immersion and presence? Are they inspired by related but highly theoretical fields such as phenomenology, or has philosophy in general been left behind in the practical evaluation of place?
Chapter Ten discusses the emerging platforms and related tools that claim to help distribute, store and preserve virtual places Understanding the significance of the latest research is not enough, we also need to understand the significance and issues of the software, hardware and platforms that can be used for the design and experience of virtual places. There is an increasing trend to the more accessible, portable and component-based, does this mean we are on the brink of Convergent Cultures? In particular, I suggest that virtual heritage has focused more on communication than on preservation. We cannot afford to have our digital heritage disappearing faster than the real heritage or the sites it seeks to “preserve,” Otherwise all of our technological advances, creative interpretations, visualizations and efforts will have been in vain.
According to Candidature finanziate at unipd.it/visiting-scien I will be a visiting professor at the University of Padova (in English: Padua) in the Autumn (Fall) for one month, perhaps September or October. My thanks to Professor Andrea Giordano for inviting me. He is involved with fascinating projects, such as Visualizing Venice.
February 17-18, 2020, The CREASE
University of South Australia, Kaurna Building Level 2, City West Campus
This workshop will explore examples of how the application of digital technologies in the humanities, built environment, creative arts and design are affecting how heritage environments are studied, preserved, shared and celebrated. The advent of technologies such as LIDAR (Laser scanning of natural and built environments), Virtual and Augmented Reality and immersive interactive environments, in areas such as site data collection, site visualisation and heritage exhibitions, are transforming how we study heritage environments and experience them both in situ and elsewhere. These changes have implications in diverse domains, including archaeology, anthropology, museology, tourism, architecture, restoration and education.
Day 1 Monday February 17, 2020
13:00 Welcome to Country
A/Prof. Jane Lawrence, Head: School of Art, Architecture and Design
13:15 Introduction to the day, Prof. Simon Biggs
13:30 Keynote: Prof. Erik Champion, Curtin University, Perth (Chair: Prof. Ning Gu)
Prof. Champion is UNESCO Chair of Cultural Heritage and Visualisation, and Professor of Media Culture and Creative Arts, in the Humanities Faculty of Curtin University, Perth, Western Australia.
14:45 Q&A
15:00 coffee and networking – Catered by Folk Lore
15:30 Burra Digital Heritage Project: Dr. Julie Nichols and Darren Fong
16:30 Discussion
17:00 Drinks at West Oak Hotel
Day 2 Tuesday February 18, 2020
09:00 coffee and networking – Catered by Folk Lore
09:30 Presentation 1 – Dr. Aida Eslami Afrooz – Time Layered Cultural Map project
10:15 Presentation 2 – CAD Walk – immersive environments for heritage simulation
11:30 Presentation 3 – Dr. Gun Lee – Augmented Reality in Outdoor Experience
12:15 Discussion
12:30 Lunch – Catered by Folk Lore
13:30 Presentation 4 – Sahar Soltani – The HYVE (in the HYVE)
14:15 Presentation 5 – Ben Keane and Alex Degaris Boot – AR for Heritage (in CCS)
15:00 coffee and networking
15:30 Discussion
16:00 end.
This free mini-symposium of talks from leading UK NZ and Australian experts will explore recent developments and intriguing challenges in spatial and platial design involving aspects of both culture and technology.
10:00 Dr Stuart Dunn, Head of The Department of Digital Humanities King’s College London, UK
10:40 Dr. Juan Hiriart, Senior Lecturer in Interactive Media Art and Design, Salford University, Manchester, UK.
11:20 Mr Chris McDowall, Geographer, New Zealand, independent consultant.
12:00 Ms Nat Raisbeck-Brown, Experimental Spatial Scientist, Indigenous Ecological Knowledge Project, Atlas of Living Australia, CSIRO, Perth.
12:20 Dr David McMeekin, Senior Research Fellow, Spatial Sciences, Curtin University and member of the Ancient Itineraries project.
12:40 Professor Erik Champion, UNESCO Chair of Cultural Heritage and Visualisation, Curtin University.
NB Some details may change.
VENUE Chemistry Building 500, “Exhibition Space” Theatre, Room 1102ABex, Manning Road entrance, Curtin University Bentley Campus, Perth, WA, 6102
DATE Friday 10:00-13:00, 21 February 2020
I have sent this off to Indiana University Press Spatial Humanities Series. There have been 3 reviews, by 2 reviewers, and probably there will be a fourth (internal?) one. And i would love to know how to automatically convert Chicago 17 Author-Date reference style to Chicago 17 Footnotes (but I don’t think it exists). Hopefully it will be published early 2021.
Chapter summaries currently read as:
Chapter One explores the innovation and wilder inventions of early virtual environments and computer games. Have these developments, along with the increasing popularity of science fiction, promulgated fertile concepts of virtual places? I will suggest they have not.
Chapter Two explores the early development of virtual worlds, and game-worlds. Despite the hype of early virtual worlds, they, along with virtual museums (Huhtamo 2010), have seldom managed to capture and retain worthwhile visitor numbers (Styliani et al. 2009). What were the main features and attractions of virtual museums? Why have they gone in and out of fashion and have they actually been of any benefit to real-world museums? I will specifically look at how they use or change the use of space, and which if any place affordances were used in their design. I will then look briefly at the changing commercial and community virtual worlds that were developed, grew and fell during the last two decades.
Chapter Three discusses the representation-orientated and essentialist nature of major architectural theories. The second half of this chapter describes related design tools and asks a question of the training of architects for designing virtual places. If architects are not trained in usability and interaction design principles, how can they design engaging and profound interaction in these virtual worlds? Are traditional devices and technologies for designing, experiencing, and reflecting on place in danger of being lost in this digital era?
Chapter Four summarizes relevant philosophical exploration of real places and extrapolates them to virtual places and to notions of cyberspace. Related concepts discussed include the notion of VR as control, realism, authenticity and presence.
Chapter Five overviews a few key recent developments in neuroscience and how they may help our understanding of how people experience, store and recollect place-related experiences. Can these discoveries help our design of virtual places? Do philosophical explanations of memory and place (Ihde 2002, Tavanti and Lind 2001) reflect recent discoveries in scientific experiments (Farovik et al. 2015)? Can science help us better design virtual places (Johnson 2013, Moore 2005)? Do they explain how people navigate and orient themselves in virtual places (Cockburn 2004, Zimring and Dalton 2003)? The second part of Chapter Five discusses the importance of affordances and the confusion surrounding them.
Understanding game mechanics is of great relevance to virtual place designers, Chapter Six summarizes conflicting definitions of game mechanics and an explanation of different types of game mechanics suited to differing design purposes. This chapter also briefly discusses gamification.
Chapter Seven asks “Do Serious Gamers Learn from Place?” We could summarize this concern in the following three questions: do we know if learning has taken place, if it has taken place effectively, and if the knowledge that resulted from the learning is transferable? In contrast to James Gee (Gee 2003) I do not believe that all games are good games, and that all games are therefore good learning environments but in I will discuss procedural rhetoric and whether serious games help people engage with pedagogical objectives of humanities subjects.
Chapter Eight focuses on the relationship of culture to place. This chapter revisits definitions of culture, explores how culture can be communicated and understood in virtual places (transmissions), and determines whether there are specific requirements with virtual worlds. I also discuss the importance of roles, rituals and agents. In order to measure how closely culture can be observed, appreciated or understood through virtual environments, I have suggested that cultural presence be defined as the feeling of being in the presence of a similar or distinctly different cultural belief system (Champion 2011).
Chapter Nine explores evaluation methods (both traditional and recent), which address the complicated problem of understanding how people evaluate places, and whether this knowledge can be directly applied to the evaluation of virtual places. How do they get around the problem of the newness of virtual reality or the subjectivity/objectivity debates surrounding immersion and presence? Are they inspired by related but highly theoretical fields such as phenomenology, or has philosophy in general been left behind in the practical evaluation of place?
Chapter 10 discusses the emerging platforms and related tools that claim to help distribute, store and preserve virtual places Understanding the significance of the latest research is not enough, we also need to understand the significance and issues of the software, hardware and platforms that can be used for the design and experience of virtual places. There is an increasing trend to the more accessible, portable and component-based, does this mean we are on the brink of Convergent Cultures? In particular, I suggest that virtual heritage has focused more on communication than on preservation. We cannot afford to have our digital heritage disappearing faster than the real heritage or the sites it seeks to ‘preserve’ otherwise all of our technological advances, creative interpretations, visualizations and efforts will have been in vain.
I gave a keynote Monday 9 December at Dhdownunder 2019, University of Newcastle, Newcastle, Australia. The title was Digital Heritage: Presenting Futures Past
The slides can be viewed and downloaded in the nzerik directory at slideshare.
MAIN POINTS
To cut over 80 slides short, my answers to the initial questions are
I suggest future research and potential solutions are
[Image care of Ian Brodie, HIDDEN and below supplied by Barbara Bollard]
Galleries Libraries Archives and Museums, meet eTourism and Digital Heritage!!
Speakers:
Dr Christina Lee will MC the event.
Champion, Erik. “From Historical Models to Virtual Heritage Simulations”. Chap. 4 In Der Modelle Tugend 2.0 Digitale 3d-Rekonstruktion Als Virtueller Raum Der Architekturhistorischen Forschung Computing in Art and Architecture, edited by Piotr Kuroczyński, Mieke Pfarr-Harfst and Sander Münster, 337-51. Heidelberg, Germany: arthistoricum.net, 2019. https://books.ub.uni-heidelberg.de/arthistoricum/catalog/book/515
Free event at Curtin University Friday 8 November 12.30-3 PM
Register at eventbrite. [Above image care of Alexandra Angeletaki NTNU Trondheim]
Speakers:
Dr Christina Lee will MC the event.
nb below are photos of the venue (direct drive in from Manning Road, east of Waterford Plaza). Theatre “Exhibition Space” is on the ground floor directly ahead, after entering the door in the photo (to the left of the vertical Visitor Reception sign).
Ear Zow Digital