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1 Introducing Virtual Travel |
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1 | (16) |
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1 | (2) |
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1.2 Moving Past the Picture Frame |
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3 | (1) |
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1.3 Being Not-There May Be More Achievable |
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4 | (1) |
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1.4 Being Not-There May Safeguard the Place |
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5 | (2) |
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1.5 Share by Being Not-There |
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7 | (1) |
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1.6 The Implications for Virtual Travel |
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8 | (1) |
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1.7 Learning via Virtual Travel |
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9 | (1) |
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1.8 The Thorny Issue of Engagement |
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10 | (1) |
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11 | (2) |
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1.10 Virtual Reality and Cultural Significance |
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13 | (1) |
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14 | (3) |
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17 | (10) |
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2.1 Technological Limitations |
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17 | (1) |
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2.2 Lack of Widely Distributed Technology |
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17 | (1) |
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2.3 Size, Speed and Rendering Issues |
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18 | (1) |
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2.4 Lack of Meaningful Content |
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18 | (1) |
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2.5 We Experience More than Tangible Objects |
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19 | (1) |
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2.6 The World Is More than Visual Stimuli |
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19 | (1) |
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2.7 Different People See Different Things |
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20 | (1) |
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2.8 Personalization Is Missing |
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21 | (1) |
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2.9 Lack of Contextual Evaluation |
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21 | (2) |
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2.10 Summary of Implications for Virtual Environments |
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23 | (1) |
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24 | (3) |
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27 | (36) |
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3.1 Place in a Virtual Space |
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27 | (2) |
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3.2 Experiential Types of Place |
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29 | (5) |
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3.2.1 Place as Unique Experience |
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29 | (1) |
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3.2.2 Sublime Places of Terror and Awe |
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30 | (1) |
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3.2.3 Evocative and Atmospheric Place |
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30 | (1) |
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3.2.4 Place as Stage and Playground |
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31 | (2) |
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3.2.5 Place as Trace and Palimpsest |
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33 | (1) |
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3.3 Requirements for Creating a Sense of Place |
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34 | (5) |
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3.3.1 Place Requires Embodiment |
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34 | (2) |
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3.3.2 Place Requires Paths and Centers |
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36 | (1) |
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3.3.3 Response to Place Requires Ongoing Feedback |
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36 | (1) |
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3.3.4 Place Requires Social `Embeddedness' |
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37 | (1) |
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38 | (1) |
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3.4 Evoking Place via Arts and Sciences |
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39 | (5) |
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39 | (2) |
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41 | (1) |
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42 | (1) |
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43 | (1) |
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3.4.5 Cultural Geography in Place and Culture |
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43 | (1) |
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3.5 Cyberspace Critics and Criteria |
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44 | (5) |
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3.5.1 Cyberspaces Lack Limits |
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46 | (2) |
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3.5.2 Cyberspaces Lack `Play' Through Objects |
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48 | (1) |
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3.5.3 Cyberspaces Lack Life History |
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48 | (1) |
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3.6 Cyberspace Concepts and Terminology |
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49 | (1) |
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3.6.1 Suggestions for Creating Cyberplace |
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50 | (1) |
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3.7 Three Types of Virtual Environments |
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50 | (5) |
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3.7.1 Inert `Explorative' Environments |
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51 | (2) |
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3.7.2 Activity-Based Environments |
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53 | (1) |
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3.7.3 Cultural or `Hermeneutic' Environments |
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53 | (2) |
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3.8 Matching Virtual Environments and Technologies |
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55 | (1) |
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56 | (2) |
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3.10 Summary of Place Theory |
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58 | (2) |
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60 | (3) |
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4 Cultural and Social Presence |
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63 | (20) |
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4.1 Why Photorealism Does Not Convey Cultural Significance |
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63 | (6) |
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4.1.1 Virtual Heritage Is Not Realism |
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63 | (2) |
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4.1.2 Phobic Triggers and Experiential Realism |
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65 | (2) |
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4.1.3 Archaeology and History Is Not Set in Concrete |
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67 | (2) |
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4.2 Confusion over Cultural Presence |
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69 | (1) |
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69 | (6) |
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4.3.1 What Is a Culturally Significant Place? |
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70 | (1) |
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4.3.2 How Culture Is Learnt |
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71 | (1) |
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4.3.3 Social and Cultural Presence |
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72 | (3) |
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4.4 Hermeneutic Richness, Cultural Agency |
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75 | (1) |
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4.5 Culture in Virtual Worlds |
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76 | (1) |
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4.6 Useful Cultural Presence |
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76 | (2) |
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4.7 Summary of Cultural Presence Theory |
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78 | (2) |
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80 | (3) |
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83 | (46) |
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83 | (1) |
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5.2 Defining Game-Style Interaction |
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84 | (5) |
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5.2.1 Useful Features of Games |
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85 | (2) |
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5.2.2 Engaging Features of Games |
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87 | (2) |
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5.3 Case Study: Heretic II |
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89 | (1) |
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90 | (4) |
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5.4.1 Dynamic Place Design: Unreal Palenque and Xibalba |
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91 | (3) |
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5.4.2 Racing in a Tent: Spatial and Haptic Immersion |
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94 | (1) |
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5.5 Constrained Tasks and Goals |
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94 | (7) |
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5.5.1 Interaction Modes in Palenque Using Adobe Atmosphere |
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95 | (5) |
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5.5.2 Constrained Tasks in Journey to the West |
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100 | (1) |
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5.6 Social Agency: Avatars Agents and Actors |
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101 | (3) |
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5.6.1 Agency in a Marco Polo Game |
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102 | (2) |
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104 | (7) |
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5.7.1 Mapping to Aid Navigation for Egyptian Mythology |
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108 | (2) |
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5.7.2 Mapping Through Drawing |
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110 | (1) |
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111 | (5) |
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5.8.1 Procedural Versus Prescriptive Learning |
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111 | (5) |
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5.9 Game Genres and Cultural learning |
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116 | (2) |
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5.9.1 Snakes and Laddeers |
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116 | (1) |
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5.9.2 Different Perspectives per Player |
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117 | (1) |
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117 | (1) |
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118 | (1) |
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5.10 Issues of Time: Interaction Versus Historical Authenticity |
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118 | (3) |
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5.10.1 Ancillary Non-celebrity Characters |
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119 | (1) |
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5.10.2 Autonomous Action, Immutable Results |
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119 | (1) |
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119 | (1) |
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119 | (1) |
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5.10.5 Diary of Emotional Development |
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120 | (1) |
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5.10.6 Surfing Memetic Drift |
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120 | (1) |
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5.10.7 Augment History with Real World |
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120 | (1) |
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5.10.8 Augmented Cultural Exchange |
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121 | (1) |
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121 | (1) |
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5.11 Game-Based Evaluation |
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121 | (3) |
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5.12 Summary of Games-Style Interaction |
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124 | (2) |
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126 | (3) |
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129 | (28) |
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6.1 What Is Virtual Heritage? |
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129 | (2) |
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6.2 The Problem of Culture |
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131 | (1) |
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6.3 Virtual Heritage Case Studies |
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132 | (19) |
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6.3.1 Art History in Online Worlds: Santa Maria, Italy |
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132 | (1) |
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6.3.2 Virtual Forbidden City, China |
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133 | (1) |
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6.3.3 Dordrecht Monastery, The Netherlands |
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134 | (1) |
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6.3.4 Urban Design and Virtual Sambor, Cambodia |
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135 | (2) |
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6.3.5 FAS Palace, Mesopotamia |
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137 | (2) |
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6.3.6 Culture and History Inside a Game: Palestime and Italy |
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139 | (3) |
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6.3.7 Virtual Egyptian Temple |
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142 | (2) |
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6.3.8 Dome Visualization: Mawson's Hut, Antarctica |
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144 | (1) |
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6.3.9 Heritage Tour: Macquarie Lighthouse, Australia |
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145 | (2) |
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6.3.10 Panoramic Explorations: PLACE-Hampi, India |
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147 | (1) |
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6.3.11 Performance and Archaeology: Spaces of Mjalnar, Malta |
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148 | (3) |
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151 | (1) |
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152 | (5) |
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7 Augmenting the Present With the Past |
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157 | (20) |
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7.1 What Is Augmented Reality? |
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157 | (3) |
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7.2 Blends of Augmented Reality and Augmented Virtuality |
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160 | (4) |
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7.2.1 Inserted Walk-About Reality, University of South Australia |
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160 | (1) |
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7.2.2 Overlaid Walk-About Reality, Columbia University |
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160 | (3) |
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7.2.3 Bubbled Reality Example 3: Mawson's Huts, Antarctica |
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163 | (1) |
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7.3 Other Types of Mixed Reality |
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164 | (7) |
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7.3.1 Data-Streamed Virtual Reality |
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164 | (1) |
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7.3.2 Augmented Virtuality |
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165 | (2) |
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7.3.3 Audio Augmented Reality |
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167 | (1) |
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7.3.4 Participant and Audience-Augmented Virtuality |
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168 | (3) |
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7.4 Augmented Reality and Virtual Heritage |
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171 | (1) |
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172 | (2) |
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174 | (3) |
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8 Evaluating Virtual Heritage |
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177 | (24) |
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8.1 Testing That Which Is Not Yet Fully Tested |
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177 | (1) |
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8.2 Evaluating Cultural Learning |
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178 | (1) |
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8.3 Virtual Heritage Evaluation |
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179 | (1) |
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8.4 What Types of Evaluation Are There? |
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179 | (3) |
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179 | (1) |
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8.4.2 Content and Media Comparison Studies |
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180 | (1) |
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8.4.3 Physiological Testing |
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180 | (1) |
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180 | (1) |
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8.4.5 Surveys/Questionnaires |
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181 | (1) |
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8.4.6 Ethnographic Evaluation |
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182 | (1) |
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8.5 Evaluating Virtual Heritage Environments |
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182 | (8) |
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8.5.1 Task Performance and Game Evaluation |
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184 | (1) |
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8.5.2 Statistical Methods Suitable for Virtual Heritage Projects |
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185 | (5) |
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8.6 Evaluation Case Study: Palenque |
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190 | (4) |
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191 | (1) |
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191 | (1) |
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8.6.3 Evaluation Questions |
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192 | (1) |
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8.6.4 Schedule of Evaluation |
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193 | (1) |
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193 | (1) |
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8.7 Summary of Evaluation for Virtual Heritage |
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194 | (2) |
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196 | (5) |
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201 | (10) |
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9.1 Cultural Understanding Through Digital Interactivity |
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201 | (6) |
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207 | (2) |
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209 | (2) |
Index |
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211 | |