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!
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.
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.
by Mafkereseb Kassahun Bekele and Ear Zow Digital
Open access article in Frontiers in Robotics and AI, 24 September 2019 | https://doi.org/10.3389/frobt.2019.00091
In recent years, Augmented Reality (AR), Virtual Reality (VR), Augmented Virtuality (AV), and Mixed Reality (MxR) have become popular immersive reality technologies for cultural knowledge dissemination in Virtual Heritage (VH). These technologies have been utilized for enriching museums with a personalized visiting experience and digital content tailored to the historical and cultural context of the museums and heritage sites. Various interaction methods, such as sensor-based, device-based, tangible, collaborative, multimodal, and hybrid interaction methods, have also been employed by these immersive reality technologies to enable interaction with the virtual environments. However, the utilization of these technologies and interaction methods isn’t often supported by a guideline that can assist Cultural Heritage Professionals (CHP) to predetermine their relevance to attain the intended objectives of the VH applications. In this regard, our paper attempts to compare the existing immersive reality technologies and interaction methods against their potential to enhance cultural learning in VH applications. To objectify the comparison, three factors have been borrowed from existing scholarly arguments in the Cultural Heritage (CH) domain. These factors are the technology’s or the interaction method’s potential and/or demonstrated capability to: (1) establish a contextual relationship between users, virtual content, and cultural context, (2) allow collaboration between users, and (3) enable engagement with the cultural context in the virtual environments and the virtual environment itself. Following the comparison, we have also proposed a specific integration of collaborative and multimodal interaction methods into a Mixed Reality (MxR) scenario that can be applied to VH applications that aim at enhancing cultural learning in situ.
Bekele, M., & Champion, E. (2019). A Comparison of Immersive Realities and Interaction Methods: Cultural Learning in Virtual Heritage. Frontiers in Robotics and AI | Virtual Environments: Emergent Technologies for Cultural Heritage and Tourism Innovation. doi:10.3389/frobt.2019.00091
Thanks to Curtin Institute for Computation for a $30,263.88 Operational Research Support Grant on Linked Open Data for 3D Heritage and related web/AR/VR and Makerspace wonders..
More details to follow, must be completed this year.
Open Access for 50 days! Check out at https://www.sciencedirect.com/science/article/pii/S2212054819300153?dgcid=author
Rahaman, H., Champion, E., & Bekele, M. (2019). From photo to 3D to mixed reality: A complete workflow for cultural heritage visualisation and experience. Digital Applications in Archaeology and Cultural Heritage, 13, e00102. Retrieved from http://www.sciencedirect.com/science/article/pii/S2212054819300153. doi:https://doi.org/10.1016/j.daach.2019.e00102
Abstract
The domain of cultural heritage is on the verge of adopting immersive technologies; not only to enhance user experience and interpretation but also to satisfy the more enthusiastic and tech-savvy visitors and audiences. However, contemporary academic discourse seldom provides any clearly defined and versatile workflows for digitising 3D assets from photographs and deploying them to a scalable 3D mixed reality (MxR) environment; especially considering non-experts with limited budgets. In this paper, a collection of open access and proprietary software and services are identified and combined via a practical workflow which can be used for 3D reconstruction to MxR visualisation of cultural heritage assets. Practical implementations of the methodology has been substantiated through workshops and participants’ feedback. This paper aims to be helpful to non-expert but enthusiastic users (and the GLAM sector) to produce image-based 3D models, share them online, and allow audiences to experience 3D content in a MxR environment.
I was the second-author of two papers presented at CAADRIA 2019: INTELLIGENT & INFORMED in Wellington New Zealand, and they are now published in CUMINCAD. The primary authors were Mafkereseb Bekele for the first paper (he won a Young CAADRIA award) and Hafizur Rahaman for the second paper, both are colleagues at Curtin University, Mafkereseb is a PhD student here and Hafizur is a Research Fellow.
The primary objective of this paper is to present a redefinition of Mixed Reality from a perspective emphasizing the relationship between users, virtuality and reality as a fundamental component. The redefinition is motivated by three primary reasons. Firstly, current literature in which Augmented Reality is the focus appears to approach Augmented Reality as an alternative to Mixed Reality. Secondly, Mixed Reality is often considered to encompass Augmented Reality and Virtual Reality rather than specifying it as a segment along the reality-virtuality continuum. Thirdly, most common definitions of Augmented Reality (AR), Augmented Virtuality (AV), Virtual Reality (VR) and Mixed Reality (MxR) in current literature are based on outdated display technologies, and a relationship between virtuality and reality, neglecting the importance of the users necessarily complicit sense of immersion from the relationship. The focus of existing definitions is thus currently technological, rather than experiential. We resolve this by redefining the continuum and MxR, taking into consideration the experiential symbiotic relationship and interaction between users, reality, and current immersive reality technologies. In addition, the paper will suggest some high-level overview of the redefinition’s contextual applicability to the Virtual Heritage (VH) domain.
To validate the hypothesis that virtual heritage papers are reliant on providing scholarly argumentation based on 3D models, and convenient access is provided to these models where relevant, this study reviewed 264 articles from the last three available proceedings of major digital heritage events and conferences (14 in total). The findings revealed this was not the case, few contain references to accessible 3D models. We discuss why this may be so, and we outline recommendations for ensuring that virtual heritage 3D models can be preserved and accessed.
Very happy to see this https://openheritage3d.org/ but have some questions!
Also with 3D publishing, Professor Elaine Sullivan’s project on Digital Karnak was shown last Friday at CAA2019 in Krakow, Poland.
#CFP Personal and Ubiquitous Computing (Springer Science)
Special Issue on Virtual and Mixed Reality in Culture and Heritage:
Details: https://www.syros.aegean.gr/users/dgavalas/SI_PUC_VR_MR.pdf
This special issue solicits research related to Virtual and Mixed Reality in Culture and
Heritage. Authors are encouraged to submit articles presenting original and
innovative studies that address new challenges and implications and explore the
potential of immersive technologies in museums, galleries, heritage sites and
art/cultural institutions.
Guest Editors:
Damianos Gavalas, University of the Aegean, Greece dgavalas@aegean.gr
Stella Sylaiou, Hellenic Open University, Greece, sylaiou@gmail.com
Vlasios Kasapakis, University of the Aegean, Greece, v.kasapakis@aegean.gr
Elena Dzardanova, University of the Aegean, Greece, lena@aegean.gr
Important Dates:
Submission: July 31, 2019
1st round notification: Sept 30, 2019
Revision deadline: Nov 15, 2019
Final notification: Dec 31, 2019
Expected publication: 4nd Q 2020
More for my own use, here are two papers accepted for CAA2019 in Krakow Poland, 23-27 April, 2019.
Author Erik M Champion (Mafi?)
Title Mixable reality, Collaboration, and Evaluation (S36: User Experience Design in Archaeology and Cultural Heritage)
If we are to move past one hit AR wonders like Pokémon Go, scalable yet engaging content, stable tools, appropriate evaluation research, long-term and robust infrastructure, are essential. Formats like WebVR and Web XR show promise for sharing content across desktop and head-mounted displays (without having to download plugins), but there is also a non-technological constraint: our preconceptions about virtual reality. For example, in a 2018 Conversation article “Why virtual reality cannot match the real thing” by Professor of Philosophy Janna Thompson) she argued that virtual reality (and virtual heritage in particular) attempts to provide accurate and equivalent realistic interactive simulations of the existing real world.
VR is not only a possible mirror to the current world. As Sir David Attenborough noted about the Natural History Museum’s “Hold the World” VR application, it provides a richer understanding of process, people can move and view virtual objects that are otherwise fragile, expensive or remote. And it allows people to share their mashups of reality, mixable reality. Collaborative learning can compel us to work in groups to see the bigger picture… your actions or decisions can be augmented and incorporated into the experience. However, there are few studies on collaborative learning in mixed reality archaeology and heritage. This presentation will discuss two projects, (one using two HoloLens HMDs, one a game where two people with different devices must share and control one character,) the theories adopted, and the range of possibilities for evaluating user experience in this collaborative mixed reality.
This is related to part of an article on VR for tourism that was submitted to the online Conversation website, this abstract will be further modified and updated.
Authors: Erik M Champion, Hafizur Rahaman
Title: 3D Models: Unwanted, Unknown, Unloved (Session S37: 3D Publishing and Sustainability: Taking Steps Forward)
Given the importance of three-dimensional space and artefacts to archaeology and to heritage studies, one might therefore assume that publications in the area of virtual heritage are heavily reliant on providing scholarly argument based on 3D models.
To corroborate this hypothesis, we reviewed virtual heritage proceedings of five major digital heritage conferences one could expect to be focused on projects incorporating 3D models. A total number of 264 articles across 14 proceedings were studied, and the results will be tabulated and presented.
The lack of accessible 3D models, usable projects, or ways in which the 3D model could be used and critiqued in a scholarly argument is of great concern to us. We suggest that long-term usage and preservation of virtual heritage models are worrying and persistent issues, and their scholastic impact is severely compromised. We suggest there are least three critical issues: we lack accessible, durable and complete infrastructure, which is essential for storage and preservation; we still don’t have a shared understanding of how to develop, integrate and demonstrate the research value of 3D heritage models; we also lack robust, long-term publication systems that can integrate and maintain both the 3D models and their relevance and functionality in terms of both community engagement and scholarship. We recommend seven practical steps for ensuring that the scholarship going into the development of 3D virtual heritage models, and arising from 3D virtual heritage models, can be fully implemented.
3D models adopted/generated from image-based modelling techniques are increasingly used in research, shared online, incorporated into digital archives, and developed as assets for 3D games and for Virtual Reality applications. On the other hand, various HMDs (Head-Mounted-Display) offer Mixed Reality experiences; help us to experience and interact with virtual environments and objects via gesture, speech, gaze, touch and movement. This workshop will demonstrate how to make 3D models from photographs with free and open source software (FOSS, Regard3D), how to import a 3D model to a specific Mixed Reality HMD (Microsoft HoloLens), and you will also learn how the HoloLens can interact with the 3D model in mixed reality.
We will be using the following software:
What to bring:
You can just register and attend the workshop. However, it is better to bring your own laptop/device, preferably with the following software pre-installed (installation may take an hour but is free of charge):
Please register to secure your place, and cancel your ticket if you are no longer able to attend, as places are limited!
New edited book out 8 November:
Champion, E. (Ed.). (2018). The Phenomenology of Real and Virtual Places. The Routledge Studies in Contemporary Philosophy series. Routledge. 08 November 2018 (ebook 26 October 2018 9781315106267). ISBN 9781138094079
Feel free to ask Routledge for a review form and book copy..
This collection of essays explores the history, implications, and usefulness of phenomenology for the study of real and virtual places. While the influence of phenomenology on architecture and urban design has been widely acknowledged, its effect on the design of virtual places and environments has yet to be exposed to critical reflection. These essays from philosophers, cultural geographers, designers, architects, and archaeologists advance the connection between phenomenology and the study of place. The book features historical interpretations on this topic, as well as context-specific and place-centric applications that will appeal to a wide range of scholars across disciplinary boundaries. The ultimate aim of this book is to provide more helpful and precise definitions of phenomenology that shed light on its growth as a philosophical framework and on its development in other disciplines concerned with the experience of place.
3. The Efficacy of Phenomenology for Investigating Place with Locative Media by Leighton Evans
4. Postphenomenology and “Places” by Don Ihde
5. Virtual Place and Virtualized Place by Bruce Janz
6. Transactions in virtual places: Sharing and excess in blockchain worlds by Richard Coyne
7. The Kyoto School Philosophy on Place: Nishida and Ueda by John W.M. Krummel
8. Phenomenology of Place and Space in our Epoch: Thinking along Heideggerian Pathways by Nader El-Bizri
9. Norberg-Schulz: Culture, Presence and a Sense of Virtual Place by Erik Champion
10. Heidegger’s Building Dwelling Thinking in terms of Minecraft by Tobias Holischka
11. Cézanne, Merleau-Ponty, and Questions for Augmented Reality by Patricia Locke
12. The Place of Others: Merleau-Ponty and the Interpersonal Origins of Adult Experience by Susan Bredlau
13. “The Place was not a Place”: A Critical Phenomenology of Forced Displacement Neil Vallelly
14. Virtual Dark Tourism in The Town of Light by Florence Smith Nicholls
Some notes on Screen Tourism VR and Cultural Heritage for 11 June event at the HIVE, Curtin University.
Google slides of the above presentation are here
The Screen Tourism VR and Cultural Heritage event will take place Monday at the HIVE, Curtin University.
It is fully booked but the programme is now:
PROGRAM SESSION 1 (Chair: Dr Tod Jones (Curtin University))
1.00–1.05pm: Welcome by Dr Tod Jones
1.05–1.40pm: Mr Ian Brodie (http://www.ianbrodie.net/)
1.40–2.00pm: Dr Christina Lee (Curtin University)
2.00–2.20pm: Professor Ear Zow Digital (Curtin University)
2.20 – 2.45pm: Q&A
2.45–3.15pm: Coffee/tea break at Aroma Café
SESSION 2 (Chair: Erik Champion)
3.15–3.20pm: Introductions
3.20–3.40pm: Mr Mike Dunn (Phimedia)
3.40–3.50pm: Mr Mat Lewis (South West Development Commission)
3.50–4.00pm: Mr Nathan Gibbs (Screen West)
4.00–4.30pm: Q&A then sundowner (see below).
VENUE
HIVE (VR Centre), John Curtin Gallery, Kent Street, Curtin Bentley campus WA 6102
https://humanities.curtin.edu.au/research/centres-institutes-groups/hive/
Phone: (08) 9266 9024 (HIVE).
Map link https://goo.gl/maps/FZu8FaEaULt (in John Curtin Gallery opposite Aroma Café)
PARKING (https://properties.curtin.edu.au/gettingaround/parkingzones.cfm
You can pay in a visitor’s carpark (there are parks near John Curtin Gallery/the HIVE) or you can download a phone app and pay in the yellow signed curtin parks at a much cheaper rate. Closest zone is D3 off Kent St then Beazley Avenue, park as close as you can to John Curtin Library.
CANCELLATIONS
If you cannot make the event please cancel your ticket at Eventbrite as we have people on the waiting list
TEA/COFFEE
We hope to have tea or coffee provided for attendees at the nearby outside Aroma cafe during the coffee break, please bring your Eventbrite ticket number.
SUNDOWNER AFTER THE EVENT
If you would like to speak to Ian or Mike or the other speakers after the event from 4:30PM or so we hope to offer a small sundowner at the meeting space of Innovation Central, Level 2, Engineering Pavilion Building 216. More details at the event but just a note you can also find it at http://properties.curtin.edu.au/maps/
If you are in Perth 11 June please sign up on EventBrite to this free event:
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).
Venue: https://humanities.curtin.edu.au/research/centres-institutes-groups/hive/
Phone: (08) 9266 9024 (HIVE).
Map link https://goo.gl/maps/FZu8FaEaULt (in John Curtin Gallery opposite Aroma Café)
Ear Zow Digital