UNESCO Chair in Cultural Heritage & Visualisation at Curtin University of Technology

Just received this by email, last night:

Establishment of a UNESCO Chair in Cultural Heritage and Visualisation at Curtin University of Technology. Third Parties: United Nations Educational, Scientific and Cultural Organization.

So the agreement is signed and I will hear from Human Resources regards the provision of two PhD students and a contracted Research Fellow. The majority of their work will be in providing workflows and tutorials and repository guidelines for the storage and deployment and educational use of 3D heritage models/site simulations. I will have to find other avenues of funding for my major line of research, game-like simulation design of heritage sites and historical events and processes.

The specific objectives of this Chair are to:

  • create a Cultural Heritage and Visualisation network to use and advise on 3D models of World Heritage Sites, as well as to show how 3D models can be employed in teaching and research;
  • build capacity through community workshops and learning materials and distribute the teaching resources digitally at no cost to the end user, as well as train research students, post-doctorate scholars and visiting fellows;
  • recommend long-term archive guidelines and ways of linking 30 models to scholarly publications and related scholarly resources and infrastructures;
  • disseminate the results of research activities at conferences and workshops, via online papers, applications and learning materials; and,
  • cooperate closely with UNESCO on relevant programmes and activities, as well as with other relevant UNESCO Chairs.

CAA 2017 Other session “Mechanics, Mods and Mashups” ACCEPTED!

My proposal to the 2017 Computer Applications and Quantitive Methods in Archaeology (CAA) international conference, March 14th and 16th, 2017 at Georgia State University, Atlanta, GA, USA) has been accepted.The below will be updated when I speak to the co-organisers but we are thinking of a morning presentation and (possible) game pitch, and an aftertoon work on key ideas..

CAA2017 Atlanta: Other Session

Mechanics, Mods and Mashups: Games of the Past for the Future Designed by Archaeologists
Organizers: Erik Champion, Michael Nitsche, Natalie Underberg-Goode

Are you a fan of Assassin’s Creed but upset over how it could have made history exciting without having to employ and manipulate central historical characters? Love Lara Croft: Tomb Raider if only the tomb-raiding (stealing) mechanics could be replaced by something more meaningful? Wish that the Total War Series allowed you to employ agent modeling to test competing archaeological theories of migration, colonization and invasion or just to improve its historical accuracy? Dream you could use the language, graphic vision and immersion of Far Cry Primal in the classroom to explain (through engaging interaction) the Mesolithic rather than primarily use it as a backstage to fight semi- believable creatures? Then this workshop is for you. Correction. This workshop is BY you.

Archaeologists and people of a historical persuasion:

  • Either take a game with an inspiring concept, technique or mechanic..
  • OR extrapolate a current or past game to a game or simulation of the future
  • OR they share their vision of a game or simulation that reveals, expresses or augments their own research.At the workshop the writers will either:
  • Bring their own designs, video cut-scenes, and illustrations and media depicting what this new vision would look like
  • OR have some form of play-testing demonstration, cards, or illustrations or physical play-throughs (preferably involving the CAA workshop audience) revealing how this new level, mod or gameplay episode COULD be experienced or how it could be revealed.The writers will:
    Ask the audience to play through or role-play the actions that would be in the creative piece.

    The audience will:
    Give the writers feedback ideas and nominate the best presentation in terms of fun and engagement, imaginative ideas, and archaeological relevance (in promoting archaeology, teaching archaeology or extending archaeological scholarship).

    Potential tools:
    Gameplay cards, game prototyping tools, scenes or videos from a 3D editor or game editor (Unity, Unreal, Blender), board games as prototypes, playing cards, physical artifacts that are role-played by the presenter, illustrations, slideshows, game editors (like the SIMS: https://www.thesims.com/en_GB) used to make films (Machinima), roleplaying videos, flowcharts, interactive fiction (like https://twinery.org/). We will provide a fuller list of tools and examples to potential attendees before the workshop.

    Equipment:
    PC with sound and display, some floor space to move around in for physical re-enactments. Tables or some form of desk to provide written or graphical feedback.

    Length:
    Participants: 26 maximum (ideally) where 6 present. We require half an hour a presenter so three hours for 6 presenters, 6 hours a whole day if we want to go to 12 presenters.
    Ideally the non-presenting audience is not too large, preferably up to 20.

    Outcome:
    We will approach a creative publisher (Liquid Books, University of Michigan Press or other) to provide an online or printable output of the demonstrations and the audience feedback.
    We would also like to invite presenters – if they can make it – to a workshop at DIGRA2017 Melbourne Australia to test out their demonstrations and play-throughs to game academics.

    References
    Champion, E. (2012) Game Mods: Design, Theory and Criticism. Entertainment Technology Centre Press.

#GLAMVR16

Well #GLAMVR16 was the twitter hashtag for Friday 26 August’s event held at the HIVE Curtin university, Perth. In the morning two invited speakers (Assistant Professor Elaine Sullivan and Mr Conal Tuohy) gave talks on Digital Karnak and Linked Open Data. They were followed by myself and my colleagues at the School of Media, Culture and Creative Arts, then a workshop on Trove data feed into UNITY game engine dynamically (Mr Michael Wiebrands) and Augmented Reality, Vueforia>Unity (Mr Dominic Manley).

There were three themes/reasons for the morning talks and afternoon workshops.

1.Digital Heritage: Workflows & issues in preserving, exporting & linking digital collections (especially heritage collections for GLAM.

2.Scholarly Making: Encourage makerspaces & other activities in tandem with academic research.

3.Experiential Media: Develop AR/VR & other new media technology & projects esp. for humanities.

The event was part of a strategic grant received from the School of Media Culture and Creative Arts, so thanks very much to MCCA!

Schedule and links to slides

Session title and links to slidesharePRESENTER
IntroductionsEar Zow Digital
Digital KarnakElaine Sullivan, UCSC USA
Linked Open Data VisualisationConal Tuohy, Brisbane
MORNING TEAmorning TEA
Making collections accessible in an online environmentLise Summers
Digital scholarship, makerspaces and the libraryKaren Miller
Digital Heritage Interfaces and Experiential MediaEar Zow Digital
Simple Biometric Devices for Audience EngagementStuart Bender
Usability of interactive digital multimedia in the GLAM sectorBeata Dawson
Emotive Media – Visualisation and Analysis of Human Bio-Feedback DataArtur Lugmayr
Visualising information with RAM iSquaresPauline Joseph
LUNCH
digital workflows (UNITY) Michael Wiebrands
Introduction to Augmented RealityDominic Manley
final questions/social networking/ SUNDOWNERCentre for Aboriginal Studies Foyer

Some thoughts on the 2016 National Research Infrastructure Roadmap of Australia

The publically available documents are at

I enjoyed reading this, thought it had promise over the ealier research priorities, but I have five suggestions:

1. Missing Details About Heritage and Cultural Heritage In General

However heritage is only mentioned once, 8.3.2 and it requires major investment in infrastructure, especially research data storage, linked to the CADASTRE problems Australia is experiencing and that I am sure CRCSi would have told you about. Not only was heritage only mentioned once there was no mention of heritage collections yet Australia has 19 world heritage sites (http://www.australia.com/en/articles/world-heritage-sites-australia.html) not to mention the many state heritage sites and heritage towns. Digital collections are described but in terms of ecology, there are also cultural digital collections and cultural heritage collections, infrastructure between libraries archives galleries and museums that should have shared features, formats and efficient, scalable infrastructure.

2. Missing Infrastructure Theme: Tourism

Tourism is another big missing item. Smart tourism is a great industry to have but requires investment and infrastructure.

3. Encouraging co-curation and management and data replication

Also, although communities are mentioned, they could play a vital role vis a vis crowdsourcing, i.e. researchers and government departments need to develop better methods to disseminate data to communities, the skills and techniques to understand that data, and the capabilities to help curate, manage and develop that data. The roadmap still feels very much like data is stored and preserved and transmitted only by experts but Australia won’t have the money to pay these experts effectively and comprehensively.

Ways to allow partial editorial access at institutional and community level is vital for public engagement, feedback and budget efficiency.

4. More Emphasis On Education

Education is Australia’s 3rd or 4th biggest export industry, surely there should be more planning on how to educate and base education around the use and challenges of these major research infrastructures and how to measure their impact? Education is mentioned four times, but only, as far as I can see, in terms of access to infrastructure.

5. Academic Publication

The ways in which academics can publish and how they are measured is changing rapidly. Infrastructure could be more dynamically and effectively tied into publication and dissemination systems. Traditional proprietary journals published static research data and deny or delay access, digital publication means they could be produced more efficiently and quickly, be reformattable/reconfigurable for a variety of platforms and purposes and they could also be linked dynamically to updateable research data.

11.3 is the only place to mention publication and all it asks for is a “transformed environment where data and tools are provided reliably to researchers, and then the outputs of research – the publications, data and methods – are available in an integrated, reproducible form.”

CFP: www2017, 3-7 April 2017, Perth

http://www.www2017.com.au/ main conference website

http://www.www2017.com.au/about/call-for-papers.php call for papers

For more than two decades, the International World Wide Web Conference has been the premier venue for researchers, academics, businesses and standards bodies to come together and discuss latest updates and the future of the web. The proceedings of WWW are published online (open access) and through ACM Digital Library, and it is considered one of the most impactful conferences in computer science.

Research tracks

  • Computational Health
  • Crowdsourcing
  • Internet Monetisation and Online Markets
  • Search
  • Security and Privacy
  • Semantics and Knowledge
  • Social Networks and Graph Analysis
  • Systems and Infrastructure
  • Ubiquitous and Mobile Computing
  • User Modeling, Personalisation and Experience
  • Web Mining and Content Analysis

Important dates
(All deadlines are 11:59pm, anywhere in the world)

  • Abstract submission Wednesday, October 19, 2016
  • Full paper submission: Monday, October 24, 2016
  • Acceptance notification: Wednesday, December 21, 2016

GLAM-VR

 Event: GLAMVR short talks and workshop (Friday 26 August, THE HIVE, from 9:00AM)

On Friday 26 August (just before Curtin Research week) a School of Media Culture and Creative Arts academics, Curtin University Library and friends will host at the HIVE a morning series of short presentations.

The main themes are:

  • Digital Heritage: Workflows and issues in preserving, exporting and linking digital collections (especially heritage collections).
  • Scholarly Making: How to encourage makerspaces & other activities in tandem with academic research.
  • Experiential Media: How to learn and develop AR/VR and other new media technology and projects especially for the humanities.

Primary Objectives:

  1. To encourage humanities and especially digital humanities research, connecting research project ideas with an idea of possible equipment and the skills required.
  2. To get people together to discuss their projects and get feedback
  3. To help push forward prototypes and proof-of-concepts
  4. To uncover potential design ideas and available datasets for the Cultural Hackathon later in the year (see below).

Friday Morning: Short Presentations (on Digital Heritage, Scholarly Making & Experiential Media)
Speakers include

  • Assistant Professor Elaine Sullivan, University of California, Santa Cruz, USA, who will speak on Digital Karnak.
  • Mr Conal Tuohy, software developer from Brisbane, will speak on digital collections, visualisation and Linked Open Data.
  • Short presentations from academics at Curtin and there may be a few slots available to others in Perth.

Friday Afternoon: Digital Workflows/Augmented Reality WORKSHOP (3-3.5 hours)

In the afternoon Mr Michael Wiebrands will present workflows on importing digital records and other media assets into the UNITY game engine and he will be followed by Mr Dominic Manley, who will demonstrate Augmented Reality (AR) technology and how to use AR in research projects.

 

Cultural Hackathon, October/November 2016

In October or November we plan to host a CULTURAL HACKATHON. Academics propose ideas, and provide datasets (and so can Libraries, Galleries, Archives and Museums). Hobbyists, programmers, students will spend the entire day in teams working on application prototypes using that data and the VR/AR equipment provided. Proof of concept ideas will be presented and the best project will win a prize and the chance to work with the academics in the near future.

PLEASE NOTE: The event is free for attendees but they will have to register at EVENTBRITE (link to follow) for either the morning presentations or the afternoon workshop. We recommend people register and attend both but having separate registrations is to encourage those who can only make one session. Numbers will be limited.

Entry level 360 degree panorama cameras

I would appreciate any advice or preference on the following 3 cameras, which 1 of the 3 you suggest in terms of quality, coverage, ease of use.
Personally I want to see if I can add 3D layers (using other software, like the old Realviz software) and preferably I can use the camera’s native format before it exports to a more conventional one.

Panoramic (Movie) Cameras (not including delivery)

  1. Ricoh theta $499 AUD
  2. Samsung Gear 360 $499 AUD (Samsang phones only?)
  3. 360fly (HD) $649 AUD

reviews online:

360 Video comparison: Samsung Gear 360 vs. Ricoh Theta S (https://www.youtube.com/watch?v=EyZinuQLVz4)
OR for all three http://createholo.com/lg-cam-360-vs-samsung-gear-360-vs-ricoh-theta-s/

Spec Comparison: LG 360 CAM vs Ricoh Theta S vs Fly 360 vs Fly 360 4K vs Samsung Gear 360: http://ausdroid.net/2016/06/28/lg-360-cam-vs-ricoh-theta-s-vs-fly-360/

Stitching: Preview of Samsung Gear 360 vs. Ricoh Theta S photo comparison: http://360rumors.blogspot.sg/2016/06/preview-of-samsung-gear-360-vs-ricoh.html

NB I believe our Curtin HIVE has the Samsung Gear 360

Digital Heritage, Scholarly Making & Experiential Media

Our internal small grant (School of Media Culture and Creative Arts, Curtin University) was successful!

Here is a synopsis of the application (redacted):

Digital Heritage, Scholarly Making & Experiential Media

We propose

  • A one-day workshop [Friday 26 August 2016, HIVE] with 3D, Digital APIs, UNITY and Augmented Reality workshops.
  • We will present our projects at that workshop and a month later meet to review progress and each other’s publications and grants.
  • Then we will organize with the Library and other GLAM partners a cultural hackathon in Perth where programmers and other parties spend a day creating software prototypes based on our ideas from the workshop. The best project will win a prize but the IP will be open source and contestants may be invited into the research projects or related grant applications.
  • Equipment to build prototypes and showcases for future grants. Part of the money will also go into Virtual Reality headsets, and Augmented Reality equipment that can be loaned out from the MCCA store to postgraduates and students.

The above would help progress the below research projects:

  • Another need is to develop the maker-space and digital literacy skills in information studies and the Library Makerspace, to develop a research area in scholarly making.
  • Another project is to integrate archives and records with real-time visualisation such as in the area of digital humanities scholarship, software training in digital humanities, and hands on workshops and crafting projects at the Curtin University Library.
  • Another project is to explore how SCALAR can integrate 3D and Augmented Reality and create a framework for cloud-based media assets that could dynamically relate to an online scholarly publication and whether that journal in printed form, with augmented reality trackers and head mounted displays could create multimedia scholarly journals where the multimedia is dynamically downloaded from the Internet so can be continually updated. Can this work inform future developments of eSPACE and interest in ‘scholarly making’ and makerspaces?
  • There is potential to create an experiential media research cluster with the new staff of SODA, to explore immersive and interactive media that can capture emotions and affects of participants or players. This requires suitable equipment.

CFPs for August 2016

START*DUE*CONFERENCETHEMELOCATION
17-Nov-1619-Aug-16DIGRAA2016Digital Games Research Association AustralasiaMelbourne Australia
31-Jan-1722-Aug-16ACSW2017Australasian Computer Science Week 2017Geelong Australia
14-Mar-1726-Aug-16CAA2017Digital Archaeologies Material Worlds (call for sessions)Atlanta Georgia USA
19-Dec-1631-Aug-16TAGTheoretical Archaeology Group – “Visualisation” sessionsSouthampton UK
27-Nov-1601-Sep-16VICTAVisions on Internet o f Cultural Things and ApplicationsNaples Italy
15-Feb-1701-Sep-16MuseumNextMuseumNextMelbourne Australia
06-May-1714-Sep-16chi2017Computer Human InteractionDenver Colorado USA
25-May-1730-Sep-16otsfThe Archaeology of Sound: a Bridge that Connects Cultures, Time & SpaceMalta
24-Apr-1707-Oct-16EG2017Eurographics 2017Lyons France
03-Mar-1709-Oct-16AMC IUIintelligent user interfacesLimassol Cyprus
03-Apr-1719-Oct-16www2017World Wide Web 2017Perth Australia
10-May-1701-Nov-162D+3D photo2D+3D photographyRijksmuseum, Netherlands
20-May-1715-Nov-16TechnoheritageScience & Technology for the Conservation of Cultural HeritageCádiz Spain
01-Aug-1721-Nov-16ISEA2017International Symposium on Electronic ArtManizales, Columbia
27-Jun-1706-Jan-17CC2017ACM Creativity and CognitionSingapore
28-Aug-1701-Feb-17CIPA 2017Digital Workflows for Heritage ConservationCarleton Canada
30-Aug-1727-Mar-17DCH2017Digital Cultural HeritageBerlin Germany
15-Jun-17?CDHCentre of Digital HeritageLeiden Netherlands
26-Jun-17?ilrn2017immersive Learning Research Network (iLRNCoimbra Portugal
10-Jul-17?DiGRA2017Digital GamesMelbourne Australia
08-Aug-17?DH2017Digital Humanities 2017: AccessMontreal Canada
02-Nov-17?HASTAC17The Possible Worlds of Digital HumanitiesOrlando Florida
24-Jun-18?DH2018Digital Humanities 2018Mexico

Publications Available for Download

Fo those interested, many of my publications are available for download at

https://curtin.academia.edu/ErikChampion

Also, the following paper passed its embargo period so feel free to download that one as well.

Defining Cultural Agents for Virtual Heritage Environments

(Presence, Vol. 24, No. 3, Summer 2015, 179–186, doi:10.1162/PRES_a_00234, 2015, Massachusetts Institute of Technology)

Abstract
This article describes the primary ways in which intelligent agents have been employed in virtual heritage projects and explains how the special requirements of virtual heritage environments necessitate the development of cultural agents. How do we distinguish between social agents and cultural agents? Can cultural agents meet these specific heritage objectives?

Book in preparation “Organic Design in Twentieth-Century Nordic Architecture”

Yes I know I don’t normally write in architectural history (any more) but this research gave me a great deal of insight into place design and virtual space non-place design. Even though the first draft is not due to August next year, I’d just like to thank Routledge for allowing me the chance to publish in this area.

I wrote this book because I realised there was very little of critical import on what organic really means (it is often used as a compliment or a criticism without an explanation). I did not know why Nordic architects seldom featured in global architectural history books and yet those who visited their buildings were in such admiration. Indeed I also wanted to explore how Nordic architects could incorporate modernism without turning their backs on earlier styles and traditions, for they were seldom either modernist or postmodernist.

The Broad Theme/ back cover:

Can a communicable and thus useful definition of ‘Organic Architecture’ be made? In this book I say yes, there is both a practical and therefore useful definition of ‘Organic Architecture’ if we view it as an attempt to thematically unify the built environment through the allegorical expression of on-going interaction between the designer and the forces of flux and change in the real world.

I have focused on the works and writings of major twentieth-century architects of Nordic countries structured around three major premises:

  • The most prominent architects of the four major Nordic countries were influenced by similar principles.
  • The works of these prominent architects can be seen as evolving from several major ideas traceable thought their buildings.
  • From the ideology of their writings these architects made explicit claims as to the existence of such ideas in their work.

Book in preparation “Designing The ‘Place’ Of Virtual Space”

Indiana University Press just approved the contract for the following book in their Spatial Humanities Series. The chapters may change slightly over the next half-year, and final publication is of course dependent on a full final academic review, but here is my plan for it (and I would appreciate suggestions, links, readings to add to the final product).

Title: Designing The ‘Place’ Of Virtual Space

Despite the many architects talking about virtual environments in the early 1990s (Novak, 2015, Novak and Novak, 2002, Packer and Jordan, 2002, Wiltshire, 2014), there is relatively little publicly accessible research on making, experiencing and critiquing virtual places is only in conference papers, book chapters and edited collections. These forms of academic literature are also more likely to be found in the computational sciences, and are not often or easily accessed by humanities scholars. So I have an overall purpose here: to communicate with humanities scholars the importance of understanding how digital and virtual places are designed, experienced and critiqued.

I suggest that technology is not the fundamental problem in designing virtual places. Are there specific needs or requirements of real places that prevent us from relying on digital media and ‘online worlds’ experts? Or is it not so much that the new tools are currently too cumbersome or unreliable, but instead it is our conventional understanding of place design and platially situated knowledge and information that needs to change?

Secondly, I will review concepts in various space and place-related disciplines, both historically and in terms of digital media, to examine where they converge or diverge, and which methods and tools are of relevance to digital (and especially virtual) place-making. Here I suggest the terms Place, Cultural Presence, Game and World are critically significant. Clearer definition of these terms would enrich clarify and reveal the importance of real-world place design but also for virtual world design in terms of interaction, immersion and meaning. I will then apply these terms and concepts to virtual worlds, virtual museums and online game-environments to see if the theories and predictions match what happened to the various digital environments.

Thirdly, I will describe recent development 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? The chapter on learning and especially place-learning will benefit from this survey of recent scientific research.

Fourth, this book will cover game mechanics, and how they can be used in virtual place design to make digital environments more engaging and the learning content more powerful and salient. The importance of interaction design is typically underplayed, under-reported and under-evaluated. We still have not truly grasped the native potential of interactive digital media as it may augment architecture, and that is why debate on the conceptual albeit thorny issues of the subject matter is still in its infancy. I believe that understanding game mechanics is of great relevance to virtual place designers and I will put forth an argument as to why, a clear definition of game mechanics and an explanation of different types of game mechanics suited to differing design purposes.

The fifth aim of this book is to give a brief introduction to new and emerging software and devices and explain how they help, hinder or replace our traditional means of designing and exploring places-is technology always an improvement here?

The last subject chapter will then explore 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.

Chapters

  1. Place Theory Applied to Virtual Environments
  2. How Mind Remembers Space, How Places are Meaningful and Evocative
  3. Dead or Dying Virtual Worlds
  4. Place Affordances of Virtual Environments Learnt From Affordances in Real Places
  5. Place Interaction and Mechanics
  6. Learning from Place
  7. Place-Making Devices, Place-Finding Devices
  8. Evaluation
  9. Conclusion

Curtin Research Fellowship scheme open

Applications for the Curtin Research Fellowship scheme are now open. Early career, senior researcher and Indigenous researcher fellowships are available, but please note that applications require a well-developed research proposal, support from a mentor in the relevant School, and support from the School. The Fellowships are highly competitive.

Please forward this message to researchers who may be eligible and interested in applying for a Fellowship. The attached flyer has more information, as does the webpage:research.curtin.edu.au/guides/fellowships.cfm. Applications close at 9am on Monday 8th August.

-I am happy to give feedback and or mentorship in the area of serious games, digital humanities research infrastructures (preferably 3D) and virtual heritage).

Counterfactual, Counterfictional, Counterfutural: Games of the Future Designed By Archaeologists (the book idea)

Like Assassin’s Creed but upset over how it could have made history exciting without having to employ and manipulate central historical characters? Love Lara Croft: Tomb Raider if only the tombraiding (stealing) mechanics could be replaced by something more meaningful? Wish that the Total War Series allowed you to employ agent modelling to test competing archaeological theories of migration, colonisation and invasion or just to improve its historical accuracy? Dream you could use the  language, graphic vision and immersion of Far Cry Primal in the classroom to explain (through engaging interaction) the Mesolithic rather than primarily use it as a backstage to fight semi-believable creatures? Then this book is for you. Correction. This book is BY you.

Brief: Archaeologists and historians either take a game with an inspiring concept, technique or mechanic and extrapolate it to a game or simulation of the future OR they share their vision of a game or simulation that reveals, expresses or augments their own research.

1. This becomes an edited book. But wait…

The writers could meet at a workshop, bring their own designs, video cutscenes, and illustrations and media depicting what this new vision would look like or how it could be experienced or how it could be revealed. Or other writers or the public or even budding game designers could provide their own illustrations, walkthroughs, PLAYABLE DEMOS, diagrams or audio recordings of what the original author’s vision could be experienced as.

2. This becomes an online sensory experience mixed in with online chapters of the book. But wait..

3. There can also be a dynamically compiled new online game created from tagged elements of #2. The reader can either choose to read the book, to read and experience the multimedia book chapters online OR select their favourite mechanics, scenarios, techniques, illustrations etc from any or all of the chapters and then the online website automatically creates a multimedia collection to suit the tags of the chosen components..the reader has now designed, experimented, or played with a whole new potential game or scenario of archaeology, history and heritage in the future..

But wait…

4. The game designers who helped in the workshop are so inspired they help the archaeologists design these new ludic visions of the future..

UNESCO “Cultural Heritage and Visualisation” AIMS

As it draws closer here is what I need to work on for four years (create a network, build community capacity, recommend archival guidelines, disseminate research, cooperate with UNESCO):

The purpose of the Chair shall be to promote an integrated system of research, training, information and documentation on virtual heritage sites, science, sustainable development, social and ethical challenges, cultural diversity, intercultural dialogue, culture of peace, information and communication. It will facilitate collaboration between high-level, internationally-recognized researchers and teaching staff of the University and other institutions in Australia, Europe and North America and in other regions of the world.

The specific objectives of this Chair are to:

  1. create a Cultural Heritage and Visualisation network to use and advise on 3D models of World Heritage Sites as well as to show how 3D models can be employed in teaching and research etc.;
  2. build capacity through community workshops, learning materials including distributing the teaching resources digitally at no cost for the end user, training of research students and post-doctorate scholars and visiting fellows;
  3. recommend long-term archive guidelines and ways of linking 3D models to scholarly publications and related scholarly resources and infrastructures;
  4. disseminate the results of research activities at conferences and workshops, via online papers, applications and learning materials; and,
  5. cooperate closely with UNESCO on relevant programmes and activities.

CFPS for July

START*DUE*CONFERENCETHEMELOCATION
05-Dec-1610-Jul-16SG2016Games & Learning Alliance conference-GALA 2016Utrecht Netherlands
02-Nov-1615-Jul-16TEEMTechnological Ecosystems for Enhancing MulticulturalitySalamanca, Spain
13-Oct-1601-Aug-16VDHVisual Digital Humanities: Representing & Interpreting Humanities DataTartu Estonia
17-Nov-1619-Aug-16DIGRAA2016Digital Games Research Association AustralasiaMelbourne Australia
14-Mar-1726-Aug-16CAA2017Digital Archaeologies Material Worlds (call for sessions)Atlanta Georgia
19-Dec-1631-Aug-16TAGTheoretical Archaeology Group – “Visualisation” sessionsSouthampton UK
05-Jul-1731-Aug-16PTHPreserving transcultural heritage: your way or my way?Lison Portugal
27-Nov-1601-Sep-16VICTAVisions on Internet of Cultural Things and ApplicationsNaples Italy
12-Jun-1721-Nov-16ISEA2017International Symposium on Electronic Art: Biocreation and PeaceManizales, Columbia
28-Aug-1701-Feb-17CIPA 2017Digital Workflows for Heritage ConservationCarleton Canada
06-Oct-16?Museum IdeasThe Future of Museums in the Era of Participatory CultureLondon UK
15-Feb-17?MuseumNextMuseumNextMelbourne Australia
03-Apr-17?www2017World Wide Web 2017Perth Australia
10-May-17?2D+3D photo2D+3D photographyRijksmuseum, Netherlands
10-Jul-17?DiGRA2017Digital GamesMelbourne Australia
08-Aug-17?DH2017Digital Humanities 2017: AccessMontreal Canada
02-Nov-17?HASTAC17The Possible Worlds of Digital HumanitiesOrlando Florida
24-Jun-18?DH2018Digital Humanities 2018Mexico

Digital Humanities, Makerspace and Gnomes

Yesterday at a meeting for digital humanities / 3D makers at https://maker.library.curtin.edu.au/ we were set a project brief to promote the makerspace.

We want something thematic to

  • encourage guerrilla (i.e. low-cost but accessible) digital humanities learning, skills, resources AND using the makerspace facilities and digital skills of our library staff and resources at the Library Makerspace
  • something funny yet memorable
  • something flexible but not subject to strict copyright restrictions (looking at you MagicCastleLand)
  • appealing to adults and children and young adults alike
  • communal and community based
  • ideal for environment-sensing and ecological projects (we have an Internet of Everything and iBeacons plus we can teach sensor-based project making)
  • capable of being built using a variety of materials, permanent and less permanent
  • suitable for immediate or long-term use past the dates of the workshop
  • anything that builds on Perth and Western Australia yet of interest and customisation-friendly for overseas staff and students

I suggested GNOMES. We would run courses around designing and building GNOMES, But they could have additional features and magical powers.

  • There are 3D Gnomes ready to print on the internet so we can teach 3D printing skills and scanning skillets scan themselves in 3D (http://structure.io/) and using free 3D software they can create halfGNOME halfPerson statues. Plus they can help teach crafting skills (very important for digital humanities).
  • something funny yet memorable. Self-evident: http://www.gardenfun.com/garden-gnomes.html Plus the potential for puns is gnomormous.
  • something flexible but not subject to strict copyright restrictions, but we can use the course to discuss creative commons and 3D objects: https://creativecommons.org/2016/04/19/attribute-3d-printed-objects/
  • appealing to adults and children and young adults alike: Self-evident really! Gnomes can be all shapes and sizes, and their rounded contours mean they can be easy (or difficult) to carry. They can be part of treasure hunts and quizzes or projection shows/outdoor displays for orientation days or themed meetings.
  • communal and community based: students can design the gnomes for hospital and senior citizen gardens, the best could be kept on campus, and promoted at Orientation Day (O-Day, henceforth known as Gnome Day).
  • ideal for environment-sensing and ecological projects: Gnomes can have slots and cavities for sensors, arduino or other. Plus the Gnomes can feature augmented reality trackers but the information will be stored in the cloud. Also, the silhouette of the Gnome could also perhaps be an AR tracker! Will need to build the ARGnome app though.
  • capable of being built using a variety of materials, permanent and less permanent: Gnomes are often found in gardens. 3D Gnome patterns would be a great exercise for our design, art and engineering students. Solar power and low-energy power for circuits in various interactive Gnomes would be an interesting engineering project (perhaps contact with the Gnome base could create some form of friction and very low levels of energy?) Patchwork gnomes could be given to visitors.
  • suitable for immediate or long-term use past the dates of the workshop: Gnomes are often of concrete, metal or masonry. We need to look at durable plaster/plastercine as well.
  • anything that builds on Perth and Western Australia: we already have a giant and mysterious Gnome Valley 2 hours south of Perth! http://www.fergusonvalley.net.au/gnomesville.html

What is stopping us? People laughing at us basically. Also too many Gnomes get abducted or end up in strange places.
Oh and I also have an idea for a text to speech bot garden Gnome that reflects on deep philosophical questions. Gnome Chomsky.

Other ideas for garden-variety digital humanities:

  • Scarecrows that sense fertiliser-deficiency but are 3D printed with politicians faces.
  • Or garden trolls that sense weather conditions and then tell you the exact opposite.

Erik Champion: Digital Culturalist

Thank you inspire lab for the kind words. Inspiration for me to start on some new projects!

inspire-lab

Erik Champion’s WordPress site / displays the form of a true digital humanist. Champion is the current professor of Cultural Visualization at Curtin University in Perth, Australia. His forthcoming work, Critical Gaming: Interactive History And Virtual Heritage focuses on game play and the digital humanities, as well as the intriguing idea of ‘critical play.’ A chapter by chapter rundown exists on the page of the same title /2015/01/15/looking-for-suitable-cover-image-critical-gaming-interactive-history-and-virtual-heritage/. Check out the Mindmap at the DH tab, and explore a PDF of Champion’s Doctoral thesis “Evaluating Cultural Learning in Virtual Environments.” Champion is major player in the European digital humanities field with an impressive list of work in the data visulization and digital culture areas. The work in screen warping and biofeedback are worth the visit.

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