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Extending Museum Realities: Play,
Presence, and Problems
Emeritus Professor Erik Champion, Curtin, UWA, ANU, Australia
Visiting Fellow, University of Jyväskylä, @nzerik erikchampion@gmail.com
2021 04.10.2021 MrICHE ISMAR2021 Bari Italy
abstract
1. What is the relationship of Virtual Heritage and Mixed Reality?
2. Is experiencing presence (telepresence) a central concept?
3. Which interaction design issues and opportunities have arisen or
are likely to arise? For example, in gamification?
4. Given recent worldwide developments, how are and will museums
and the wider GLAM sector (Galleries Libraries Archives and
Museums) develop, employ and evaluate mixed reality for online
and virtual visitors?
5. Are there related industries that may also benefit?
https://alisonjamesart.com/2017/03/12/what-is-a-virtuality /
Milgram Takemura Utsumi & Kishino (1994)
Giovanni Vincenti
Phone-based VR
Seated/standing VR
Walkable VR
AR: “Layered” AR:“Embedded”
Do people care?
XR: Extended Reality (whole spectrum)
Given VR, AR, MR and XR are
typically screen-based, how can
cultural heritage best use XR?
• Move towards a consumer-
component based system.
• OS frameworks improve access.
• Smartphone is potentially
stereoscopic viewer, a sensor, a PC.
• The device won’t matter.
• Software is in the browser.
WebXR or OpenXR works in browser
1. Virtual Heritage (& MR)
VH: the attempt to convey not just the appearance but also the meaning and significance
of cultural artifacts and the associated social agency that designed and used them through
the use of interactive and immersive digital media
MR: Paul Milgram and Fumio Kishino (1994) define it as “a particular subclass of VR related
technologies that involve the merging of real and virtual worlds.”
https://venturebeat.com/2021/09/30/nreal-
unveils-lightweight-nreal-air-ar-glasses-for-
entertainment/
VIRTUAL HERITAGE IS..
• The combination of virtual reality and
cultural heritage.
• Promises best of both, fails often.
• Why?
• Few significant interaction design studies
• Lack of preservation
• Forgets end-users, doesn’t provide reuse
SS Xantho Steam Engine, Mafkereseb Bekele
Duyfken, Mafkereseb Bekele
Bekele, M. K. (2019). Walkable Mixed Reality Map as interaction interface for Virtual Heritage.
Digital Applications in Archaeology and Cultural Heritage, e00127.
Bekele, M. K., & Champion, E. (2019). A Comparison of Immersive Realities and Interaction
Methods: Cultural Learning in Virtual Heritage. Frontiers in Robotics and AI, 6, 91.
Walkable Maps & Movable 3D
SS Xantho Steam Engine
2. Presence
cultural presence: a visitor’s overall subjective impression when visiting a virtual
environment that people with a different cultural perspective occupy or have occupied as a
place. Such a definition suggests that cultural presence is not just a feeling of being there
but also a sense of being in a foreign time or not-so-well understood place.
Even better than the real thing..U2
https://youtu.be/Vo4hCg91Xhk
CONCEPTUAL BLINDNESS?
Why virtual reality cannot match the real thing (?)
“… the emotions you feel when you have a virtual experience are not as
valuable. When you actually see Niagara Falls, especially if you get up
close, you feel awe and even fear in the face of an overpowering force
of nature… Computer simulations, however good, contain only what
photography, laser technology and pre-existing expertise put into
them… Real experiences connect us to the deeds of past people and
place us in contexts where history was made… VR will never be a
substitute for encounters with the real thing.”
- Janna Thompson Professor of Philosophy, La Trobe University.
https://theconversation.com/why-virtual-reality-cannot-match-the-real-thing-92035
Virtual Places Highly Static..MR?
• Single viewer, not to dwell or move between, few meaningful
between spaces
• Game achievements may change a place, but don’t redefine it.
• VR presence in VR is the sense of being there? Then in a virtual
museum what is being and what is there?
• More user-designed infill, creative tools, a way of recording, sharing,
and commemorating both their designs and their user experiences .
• Place revealed through people etc in terms of what they do, how they
are organized, how they affect others, not just external appearance.
• Should afford, include, and preserve collective learning.
17
Evaluation Content (intro, 3 Archaeol., 3
gamic)
Objective: Compare to
Task Performance 6 objects to find Understanding
Cultural
Understanding
6 questions x 3 virtual
environments (learn by
observing, conversing with
bots, activity)
Which VE most challenging to
explore, find or change?
Preference,
demographics, task
performance
Presence Survey
(rank 1 to 7)
Most: interesting; interactive;
related to ‘Mayan’; inhabited;
in the presence of Mayan
culture
Demographics, to task
performance; find
personal preference in
answers, rank 7 VEs
Environmental
recall
Shadows; real people; height
of locals vs tourists; number
of people
Demographics and to
task performance and
to understanding
Subjective
Experience (of time
passing)
In which VE did time pass
quickest? How fast did they
update the screen?
Subjective preference
and to demographics
PhD: U. of Melbourne, Lonely Planet 2001-4
Aspects of Cultural Significance Culturally Significant Place Examples in Games
Dynamic & often contested:
cultural significance is variable;
places have range of values over
time for different individuals or
groups - places reflect diversity.
Embodies & represents a range of
encounters and differences,
cultural values, and priorities.
Reflects the richness and diversity
of the community or communities
simulated.
Games host trigger points NOT
symbolically defined places with
amorphous boundaries. Culturally
rich bounded worlds in detailed
games with convincing AI?
Evocative: connects a community
to landscape & past experiences
(as historical records).
Connects modes of inhabitation,
identity, & place via situated past
experiences.
Few ways to store, preserve, &
access memory for players or Non-
Playing Characters (NPCs).
Shared fragility: places are fragile
& must be conserved for present &
future generations in line with the
principle of inter-generational
equity.
Conveys fragility but also care & the
means to care for the cultural
prestige and shared meaning of the
digitally simulated environment.
Few examples of cultural fragility in
games as focus typically on avatar
health.
3. Interaction Design Issues
Preservation, formats, features, user skills, audience
The Vanishing Virtual
Addison, Thwaites, Stone
Beyond Time and Space … GONE!
http://www.geek.com/news/expore-the-virtual-forbidden-city-
courtesy-of-ibm-593731/
https://twitter.com/plevy/status/433058523836985344/photo/1
“Museums of Tomorrow”
http://www.beyondspaceandtime.org/
20211004 isma rmr-iche-champion_s
140+3D FORMATS!!
Publications don’t
link to 3D assets
20211004 isma rmr-iche-champion_s
3D content is only
PART of problem
Biofeedback controls characters, music, graphics, gameplay (A. Dekker, UQ,
2007)
• Phillips, P., Hartup, M., and Champion, E. (2009). “A survey of 10 free massive multiplayer online games that may help augment social
interaction and positive mental health.” The ANZ Association of Psychiatry, Psychology And Law (Inc.) Conference, Fremantle,
BIOFEEDBACK CINEMATICS AND XRAY VISION
20211004 isma rmr-iche-champion_s
Active Classrooms
Non Playing Characters informed by gesture posture etc.
NPCs
4. GLAM versus AR VR MR
Galleries libraries archives museums
Expensive and need to train staff
Software/hardware obsolescence, visitors don’t download phone apps, internet
Human Guides are superior
Beata Dawson, PhD project, Pauline Joseph co-supervisor
Rusaila Bazlamit,
PhD project, (& Andrew Hutchison) vsmm2017
http://www2017.com.au/ webGLAM Easter 2017, Google Cultural Lab?
Digital Heritage Interfaces 2017 speakers from Oceania/SE Asia
Workshops
Playtest Playtest Playtest
http://caaconference.org/program/sessions/#title20
https://video.twimg.com/ext_tw_video/842014243193016320/pu/vid/1280x720/LpXIOXvAM3o7V5iv.mp4
CAA Atlanta 2017
Digital Cities, Digital Humanities Summer School: Game Prototypes, Politecnico, Italy 2018; 2019.
20211004 isma rmr-iche-champion_s
Games: goals, challenges, risks, strategies, rewards
goals
challenges strategies
rewards
risks
Design Diagram / history-heritage
Creating a Simple Game
1. What is the goal? Why try to achieve it?
2. Why is it an engaging challenge?
3. Does it involve competition/mastery,
chance, imitation, controlling vertigo/rush
of movement/flight?
4. What is the feedback system, affordances +
constraints, rewards and punishments?
5. How level up/advance via mechanics?
6. How does it offer different strategies,
options?
7. What is learnt during or after the
experience?
With Dr Juan Hiriart + Rapa Nui children
https://padlet.com
https://milanote.com/
5 Further afield
Are there related industries that may also benefit?
Agathe Limouzy Toulouse student intern project (“collaborative Learning” one character shared by 2
HIDDEN AR-IAN BRODIE
Margaret River Cultural Arts Centre, 11.11.2019
Conclusion (mrICHE)
• Discuss, ideate, and prototyping immersive AR-MR
• Better pathways for open-source software
• New and reusable Cultural Heritage
• Cultural tourism and DH education
• Closer ties with the game industry
• Academic incentives for scholarly and shared paradata
• A new cultural heritage based on digital technology
• Reusable, scalable, reconfigurable, providence-rich, linkable (L.o.D),
• Greater emphasis on sharable, contestable, multimodal experiences
• Understanding of culturally significant presence
References
• Bekele, Mafkereseb Kassahun 2019 Walkable Mixed Reality Map as Interaction Interface for Virtual Heritage. Digital Applications in
Archaeology and Cultural Heritage 15. DOI:10.1016/j.daach.2019.e00127.CrossRefGoogle Scholar
• Bekele, Mafkereseb Kassahun, Pierdicca, Roberto, Frontoni, Emanuele, Malinverni, Eva Savina, and Gain, James 2018 A Survey of
Augmented, Virtual, and Mixed Reality for Cultural Heritage. Journal on Computing and Cultural Heritage 11(2):1–
36.CrossRefGoogle Schol
• Champion, E. (Ed.) (2021). Virtual Heritage: A Guide. London, UK: Ubiquity Press. https://doi.org/10.5334/bck
• Champion, E. (2020). Culturally Significant Presence in Single-player Computer Games. Journal on Computing and Cultural
Heritage, 13(4). DOI: 10.1145/3414831. https://dl.acm.org/doi/10.1145/3414831
• Rahaman, H., & Champion, E. (2020). Survey of 3D Digital Heritage Repositories and Platforms. The Virtual Archaeology Review
(VAR), 11(23). https://doi.org/10.4995/var.2020.13226
• Rahaman, Hafizur, Champion, Erik, and Bekele, Mafkereseb 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.
DOI:10.1016/j.daach.2019.e00102.CrossRefGoogle Scholar
• Champion, E., & Rahaman, H. (2019). 3D Digital Heritage Models as Sustainable Scholarly Resources, Sustainability: Natural
Sciences in Archaeology & Cultural Heritage, 11(8). MDPI. Editor, Ioannis Liritzis. Open Access. Invited article.
https://www.mdpi.com/2071-1050/11/8/2425
examples
• Mixing Worlds Current Trends in Integrating the Past and Present through Augmented and Mixed Reality
• https://www.vi-mm.eu/2017/09/14/microsoft-hololens-a-holographic-technology-which-revives-our-cultural-heritage/
• https://tc.computer.org/tclt/10-1109-2021-101006/
• https://www.diericbouts.be/en/hololens

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20211004 isma rmr-iche-champion_s

  • 1. Extending Museum Realities: Play, Presence, and Problems Emeritus Professor Erik Champion, Curtin, UWA, ANU, Australia Visiting Fellow, University of Jyväskylä, @nzerik erikchampion@gmail.com 2021 04.10.2021 MrICHE ISMAR2021 Bari Italy
  • 2. abstract 1. What is the relationship of Virtual Heritage and Mixed Reality? 2. Is experiencing presence (telepresence) a central concept? 3. Which interaction design issues and opportunities have arisen or are likely to arise? For example, in gamification? 4. Given recent worldwide developments, how are and will museums and the wider GLAM sector (Galleries Libraries Archives and Museums) develop, employ and evaluate mixed reality for online and virtual visitors? 5. Are there related industries that may also benefit?
  • 8. XR: Extended Reality (whole spectrum) Given VR, AR, MR and XR are typically screen-based, how can cultural heritage best use XR? • Move towards a consumer- component based system. • OS frameworks improve access. • Smartphone is potentially stereoscopic viewer, a sensor, a PC. • The device won’t matter. • Software is in the browser. WebXR or OpenXR works in browser
  • 9. 1. Virtual Heritage (& MR) VH: the attempt to convey not just the appearance but also the meaning and significance of cultural artifacts and the associated social agency that designed and used them through the use of interactive and immersive digital media MR: Paul Milgram and Fumio Kishino (1994) define it as “a particular subclass of VR related technologies that involve the merging of real and virtual worlds.” https://venturebeat.com/2021/09/30/nreal- unveils-lightweight-nreal-air-ar-glasses-for- entertainment/
  • 10. VIRTUAL HERITAGE IS.. • The combination of virtual reality and cultural heritage. • Promises best of both, fails often. • Why? • Few significant interaction design studies • Lack of preservation • Forgets end-users, doesn’t provide reuse
  • 11. SS Xantho Steam Engine, Mafkereseb Bekele
  • 13. Bekele, M. K. (2019). Walkable Mixed Reality Map as interaction interface for Virtual Heritage. Digital Applications in Archaeology and Cultural Heritage, e00127. Bekele, M. K., & Champion, E. (2019). A Comparison of Immersive Realities and Interaction Methods: Cultural Learning in Virtual Heritage. Frontiers in Robotics and AI, 6, 91. Walkable Maps & Movable 3D SS Xantho Steam Engine
  • 14. 2. Presence cultural presence: a visitor’s overall subjective impression when visiting a virtual environment that people with a different cultural perspective occupy or have occupied as a place. Such a definition suggests that cultural presence is not just a feeling of being there but also a sense of being in a foreign time or not-so-well understood place.
  • 15. Even better than the real thing..U2 https://youtu.be/Vo4hCg91Xhk
  • 16. CONCEPTUAL BLINDNESS? Why virtual reality cannot match the real thing (?) “… the emotions you feel when you have a virtual experience are not as valuable. When you actually see Niagara Falls, especially if you get up close, you feel awe and even fear in the face of an overpowering force of nature… Computer simulations, however good, contain only what photography, laser technology and pre-existing expertise put into them… Real experiences connect us to the deeds of past people and place us in contexts where history was made… VR will never be a substitute for encounters with the real thing.” - Janna Thompson Professor of Philosophy, La Trobe University. https://theconversation.com/why-virtual-reality-cannot-match-the-real-thing-92035
  • 17. Virtual Places Highly Static..MR? • Single viewer, not to dwell or move between, few meaningful between spaces • Game achievements may change a place, but don’t redefine it. • VR presence in VR is the sense of being there? Then in a virtual museum what is being and what is there? • More user-designed infill, creative tools, a way of recording, sharing, and commemorating both their designs and their user experiences . • Place revealed through people etc in terms of what they do, how they are organized, how they affect others, not just external appearance. • Should afford, include, and preserve collective learning. 17
  • 18. Evaluation Content (intro, 3 Archaeol., 3 gamic) Objective: Compare to Task Performance 6 objects to find Understanding Cultural Understanding 6 questions x 3 virtual environments (learn by observing, conversing with bots, activity) Which VE most challenging to explore, find or change? Preference, demographics, task performance Presence Survey (rank 1 to 7) Most: interesting; interactive; related to ‘Mayan’; inhabited; in the presence of Mayan culture Demographics, to task performance; find personal preference in answers, rank 7 VEs Environmental recall Shadows; real people; height of locals vs tourists; number of people Demographics and to task performance and to understanding Subjective Experience (of time passing) In which VE did time pass quickest? How fast did they update the screen? Subjective preference and to demographics PhD: U. of Melbourne, Lonely Planet 2001-4
  • 19. Aspects of Cultural Significance Culturally Significant Place Examples in Games Dynamic & often contested: cultural significance is variable; places have range of values over time for different individuals or groups - places reflect diversity. Embodies & represents a range of encounters and differences, cultural values, and priorities. Reflects the richness and diversity of the community or communities simulated. Games host trigger points NOT symbolically defined places with amorphous boundaries. Culturally rich bounded worlds in detailed games with convincing AI? Evocative: connects a community to landscape & past experiences (as historical records). Connects modes of inhabitation, identity, & place via situated past experiences. Few ways to store, preserve, & access memory for players or Non- Playing Characters (NPCs). Shared fragility: places are fragile & must be conserved for present & future generations in line with the principle of inter-generational equity. Conveys fragility but also care & the means to care for the cultural prestige and shared meaning of the digitally simulated environment. Few examples of cultural fragility in games as focus typically on avatar health.
  • 20. 3. Interaction Design Issues Preservation, formats, features, user skills, audience
  • 21. The Vanishing Virtual Addison, Thwaites, Stone Beyond Time and Space … GONE! http://www.geek.com/news/expore-the-virtual-forbidden-city- courtesy-of-ibm-593731/ https://twitter.com/plevy/status/433058523836985344/photo/1 “Museums of Tomorrow” http://www.beyondspaceandtime.org/
  • 26. 3D content is only PART of problem
  • 27. Biofeedback controls characters, music, graphics, gameplay (A. Dekker, UQ, 2007) • Phillips, P., Hartup, M., and Champion, E. (2009). “A survey of 10 free massive multiplayer online games that may help augment social interaction and positive mental health.” The ANZ Association of Psychiatry, Psychology And Law (Inc.) Conference, Fremantle, BIOFEEDBACK CINEMATICS AND XRAY VISION
  • 29. Active Classrooms Non Playing Characters informed by gesture posture etc. NPCs
  • 30. 4. GLAM versus AR VR MR Galleries libraries archives museums Expensive and need to train staff Software/hardware obsolescence, visitors don’t download phone apps, internet Human Guides are superior
  • 31. Beata Dawson, PhD project, Pauline Joseph co-supervisor
  • 32. Rusaila Bazlamit, PhD project, (& Andrew Hutchison) vsmm2017
  • 33. http://www2017.com.au/ webGLAM Easter 2017, Google Cultural Lab? Digital Heritage Interfaces 2017 speakers from Oceania/SE Asia
  • 36. Digital Cities, Digital Humanities Summer School: Game Prototypes, Politecnico, Italy 2018; 2019.
  • 38. Games: goals, challenges, risks, strategies, rewards goals challenges strategies rewards risks
  • 39. Design Diagram / history-heritage
  • 40. Creating a Simple Game 1. What is the goal? Why try to achieve it? 2. Why is it an engaging challenge? 3. Does it involve competition/mastery, chance, imitation, controlling vertigo/rush of movement/flight? 4. What is the feedback system, affordances + constraints, rewards and punishments? 5. How level up/advance via mechanics? 6. How does it offer different strategies, options? 7. What is learnt during or after the experience?
  • 41. With Dr Juan Hiriart + Rapa Nui children https://padlet.com https://milanote.com/
  • 42. 5 Further afield Are there related industries that may also benefit?
  • 43. Agathe Limouzy Toulouse student intern project (“collaborative Learning” one character shared by 2
  • 44. HIDDEN AR-IAN BRODIE Margaret River Cultural Arts Centre, 11.11.2019
  • 45. Conclusion (mrICHE) • Discuss, ideate, and prototyping immersive AR-MR • Better pathways for open-source software • New and reusable Cultural Heritage • Cultural tourism and DH education • Closer ties with the game industry • Academic incentives for scholarly and shared paradata • A new cultural heritage based on digital technology • Reusable, scalable, reconfigurable, providence-rich, linkable (L.o.D), • Greater emphasis on sharable, contestable, multimodal experiences • Understanding of culturally significant presence
  • 46. References • Bekele, Mafkereseb Kassahun 2019 Walkable Mixed Reality Map as Interaction Interface for Virtual Heritage. Digital Applications in Archaeology and Cultural Heritage 15. DOI:10.1016/j.daach.2019.e00127.CrossRefGoogle Scholar • Bekele, Mafkereseb Kassahun, Pierdicca, Roberto, Frontoni, Emanuele, Malinverni, Eva Savina, and Gain, James 2018 A Survey of Augmented, Virtual, and Mixed Reality for Cultural Heritage. Journal on Computing and Cultural Heritage 11(2):1– 36.CrossRefGoogle Schol • Champion, E. (Ed.) (2021). Virtual Heritage: A Guide. London, UK: Ubiquity Press. https://doi.org/10.5334/bck • Champion, E. (2020). Culturally Significant Presence in Single-player Computer Games. Journal on Computing and Cultural Heritage, 13(4). DOI: 10.1145/3414831. https://dl.acm.org/doi/10.1145/3414831 • Rahaman, H., & Champion, E. (2020). Survey of 3D Digital Heritage Repositories and Platforms. The Virtual Archaeology Review (VAR), 11(23). https://doi.org/10.4995/var.2020.13226 • Rahaman, Hafizur, Champion, Erik, and Bekele, Mafkereseb 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. DOI:10.1016/j.daach.2019.e00102.CrossRefGoogle Scholar • Champion, E., & Rahaman, H. (2019). 3D Digital Heritage Models as Sustainable Scholarly Resources, Sustainability: Natural Sciences in Archaeology & Cultural Heritage, 11(8). MDPI. Editor, Ioannis Liritzis. Open Access. Invited article. https://www.mdpi.com/2071-1050/11/8/2425 examples • Mixing Worlds Current Trends in Integrating the Past and Present through Augmented and Mixed Reality • https://www.vi-mm.eu/2017/09/14/microsoft-hololens-a-holographic-technology-which-revives-our-cultural-heritage/ • https://tc.computer.org/tclt/10-1109-2021-101006/ • https://www.diericbouts.be/en/hololens