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E-raamat: Playing with the Past

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How can we increase awareness and understanding of other cultures using interactive digital visualizations of past civilizations? In order to answer the above question, this book first examines the needs and requirements of virtual travelers and virtual tourists. Is there a market for virtual travel Erik Champion examines the overall success of current virtual environments, especially the phenomenon of computer gaming. Why are computer games and simulations so much more successful than other types of virtual environments? Arguments that virtual environments are impeded by technological constraints or by a paucity of evaluation studies can only be partially correct, for computer games and simulations are also virtual environments. Many of the underlying issues are caused by a lack of engagement with the philosophical underpinnings of culture, presence and inhabitation, and there are few exemplars that engage the public with history and heritage using interactive media in a meaningful and relevant manner.The intention of Playing With the Past is to help designers and critics understand the issues involved in creating virtual environments that promote and disseminate historical learning and cultural heritage through a close study of the interactive design principles at work behind both real and virtual places. Topics discussed include the design of virtual environments, and especially virtual heritage environments, virtual place-making, cultural presence, the pros and cons of game-style interaction, augmented reality projects, and appropriate evaluation methods. Virtual heritage environments discussed in the book include projects from Antarctica, Australia, Mexico, Malta, Egypt, Babylon, the Netherlands, Cambodia, and India.

This book examines the issues involved in creating virtual environments that promote and disseminate historical learning and heritage. It achieves this through a close study of the interactive design principles at work behind both real and virtual places.
1 Introducing Virtual Travel
1(16)
1.1 Virtual Environments
1(2)
1.2 Moving Past the Picture Frame
3(1)
1.3 Being Not-There May Be More Achievable
4(1)
1.4 Being Not-There May Safeguard the Place
5(2)
1.5 Share by Being Not-There
7(1)
1.6 The Implications for Virtual Travel
8(1)
1.7 Learning via Virtual Travel
9(1)
1.8 The Thorny Issue of Engagement
10(1)
1.9 Four Major Problems
11(2)
1.10 Virtual Reality and Cultural Significance
13(1)
References
14(3)
2 Virtual Environments
17(10)
2.1 Technological Limitations
17(1)
2.2 Lack of Widely Distributed Technology
17(1)
2.3 Size, Speed and Rendering Issues
18(1)
2.4 Lack of Meaningful Content
18(1)
2.5 We Experience More than Tangible Objects
19(1)
2.6 The World Is More than Visual Stimuli
19(1)
2.7 Different People See Different Things
20(1)
2.8 Personalization Is Missing
21(1)
2.9 Lack of Contextual Evaluation
21(2)
2.10 Summary of Implications for Virtual Environments
23(1)
References
24(3)
3 Virtual Places
27(36)
3.1 Place in a Virtual Space
27(2)
3.2 Experiential Types of Place
29(5)
3.2.1 Place as Unique Experience
29(1)
3.2.2 Sublime Places of Terror and Awe
30(1)
3.2.3 Evocative and Atmospheric Place
30(1)
3.2.4 Place as Stage and Playground
31(2)
3.2.5 Place as Trace and Palimpsest
33(1)
3.3 Requirements for Creating a Sense of Place
34(5)
3.3.1 Place Requires Embodiment
34(2)
3.3.2 Place Requires Paths and Centers
36(1)
3.3.3 Response to Place Requires Ongoing Feedback
36(1)
3.3.4 Place Requires Social `Embeddedness'
37(1)
3.3.5 Place Is Mark-Able
38(1)
3.4 Evoking Place via Arts and Sciences
39(5)
3.4.1 Architecture
39(2)
3.4.2 Art and Artifacts
41(1)
3.4.3 Literature
42(1)
3.4.4 Film
43(1)
3.4.5 Cultural Geography in Place and Culture
43(1)
3.5 Cyberspace Critics and Criteria
44(5)
3.5.1 Cyberspaces Lack Limits
46(2)
3.5.2 Cyberspaces Lack `Play' Through Objects
48(1)
3.5.3 Cyberspaces Lack Life History
48(1)
3.6 Cyberspace Concepts and Terminology
49(1)
3.6.1 Suggestions for Creating Cyberplace
50(1)
3.7 Three Types of Virtual Environments
50(5)
3.7.1 Inert `Explorative' Environments
51(2)
3.7.2 Activity-Based Environments
53(1)
3.7.3 Cultural or `Hermeneutic' Environments
53(2)
3.8 Matching Virtual Environments and Technologies
55(1)
3.9 Terms
56(2)
3.10 Summary of Place Theory
58(2)
References
60(3)
4 Cultural and Social Presence
63(20)
4.1 Why Photorealism Does Not Convey Cultural Significance
63(6)
4.1.1 Virtual Heritage Is Not Realism
63(2)
4.1.2 Phobic Triggers and Experiential Realism
65(2)
4.1.3 Archaeology and History Is Not Set in Concrete
67(2)
4.2 Confusion over Cultural Presence
69(1)
4.3 What Is Culture?
69(6)
4.3.1 What Is a Culturally Significant Place?
70(1)
4.3.2 How Culture Is Learnt
71(1)
4.3.3 Social and Cultural Presence
72(3)
4.4 Hermeneutic Richness, Cultural Agency
75(1)
4.5 Culture in Virtual Worlds
76(1)
4.6 Useful Cultural Presence
76(2)
4.7 Summary of Cultural Presence Theory
78(2)
References
80(3)
5 Game-Style Interaction
83(46)
5.1 Defining Games
83(1)
5.2 Defining Game-Style Interaction
84(5)
5.2.1 Useful Features of Games
85(2)
5.2.2 Engaging Features of Games
87(2)
5.3 Case Study: Heretic II
89(1)
5.4 Dynamic Places
90(4)
5.4.1 Dynamic Place Design: Unreal Palenque and Xibalba
91(3)
5.4.2 Racing in a Tent: Spatial and Haptic Immersion
94(1)
5.5 Constrained Tasks and Goals
94(7)
5.5.1 Interaction Modes in Palenque Using Adobe Atmosphere
95(5)
5.5.2 Constrained Tasks in Journey to the West
100(1)
5.6 Social Agency: Avatars Agents and Actors
101(3)
5.6.1 Agency in a Marco Polo Game
102(2)
5.7 Artifacts
104(7)
5.7.1 Mapping to Aid Navigation for Egyptian Mythology
108(2)
5.7.2 Mapping Through Drawing
110(1)
5.8 Game-Based Learning
111(5)
5.8.1 Procedural Versus Prescriptive Learning
111(5)
5.9 Game Genres and Cultural learning
116(2)
5.9.1 Snakes and Laddeers
116(1)
5.9.2 Different Perspectives per Player
117(1)
5.9.3 Role Playing
117(1)
5.9.4 The Spy Game
118(1)
5.10 Issues of Time: Interaction Versus Historical Authenticity
118(3)
5.10.1 Ancillary Non-celebrity Characters
119(1)
5.10.2 Autonomous Action, Immutable Results
119(1)
5.10.3 Groundhog Day
119(1)
5.10.4 Possible Worlds
119(1)
5.10.5 Diary of Emotional Development
120(1)
5.10.6 Surfing Memetic Drift
120(1)
5.10.7 Augment History with Real World
120(1)
5.10.8 Augmented Cultural Exchange
121(1)
5.10.9 Dynamic Places
121(1)
5.11 Game-Based Evaluation
121(3)
5.12 Summary of Games-Style Interaction
124(2)
References
126(3)
6 Playing with the Past
129(28)
6.1 What Is Virtual Heritage?
129(2)
6.2 The Problem of Culture
131(1)
6.3 Virtual Heritage Case Studies
132(19)
6.3.1 Art History in Online Worlds: Santa Maria, Italy
132(1)
6.3.2 Virtual Forbidden City, China
133(1)
6.3.3 Dordrecht Monastery, The Netherlands
134(1)
6.3.4 Urban Design and Virtual Sambor, Cambodia
135(2)
6.3.5 FAS Palace, Mesopotamia
137(2)
6.3.6 Culture and History Inside a Game: Palestime and Italy
139(3)
6.3.7 Virtual Egyptian Temple
142(2)
6.3.8 Dome Visualization: Mawson's Hut, Antarctica
144(1)
6.3.9 Heritage Tour: Macquarie Lighthouse, Australia
145(2)
6.3.10 Panoramic Explorations: PLACE-Hampi, India
147(1)
6.3.11 Performance and Archaeology: Spaces of Mjalnar, Malta
148(3)
6.4 Summary
151(1)
References
152(5)
7 Augmenting the Present With the Past
157(20)
7.1 What Is Augmented Reality?
157(3)
7.2 Blends of Augmented Reality and Augmented Virtuality
160(4)
7.2.1 Inserted Walk-About Reality, University of South Australia
160(1)
7.2.2 Overlaid Walk-About Reality, Columbia University
160(3)
7.2.3 Bubbled Reality Example 3: Mawson's Huts, Antarctica
163(1)
7.3 Other Types of Mixed Reality
164(7)
7.3.1 Data-Streamed Virtual Reality
164(1)
7.3.2 Augmented Virtuality
165(2)
7.3.3 Audio Augmented Reality
167(1)
7.3.4 Participant and Audience-Augmented Virtuality
168(3)
7.4 Augmented Reality and Virtual Heritage
171(1)
7.5 Summary
172(2)
References
174(3)
8 Evaluating Virtual Heritage
177(24)
8.1 Testing That Which Is Not Yet Fully Tested
177(1)
8.2 Evaluating Cultural Learning
178(1)
8.3 Virtual Heritage Evaluation
179(1)
8.4 What Types of Evaluation Are There?
179(3)
8.4.1 Expert Testing
179(1)
8.4.2 Content and Media Comparison Studies
180(1)
8.4.3 Physiological Testing
180(1)
8.4.4 Task Performance
180(1)
8.4.5 Surveys/Questionnaires
181(1)
8.4.6 Ethnographic Evaluation
182(1)
8.5 Evaluating Virtual Heritage Environments
182(8)
8.5.1 Task Performance and Game Evaluation
184(1)
8.5.2 Statistical Methods Suitable for Virtual Heritage Projects
185(5)
8.6 Evaluation Case Study: Palenque
190(4)
8.6.1 Pilot Study
191(1)
8.6.2 Evaluation
191(1)
8.6.3 Evaluation Questions
192(1)
8.6.4 Schedule of Evaluation
193(1)
8.6.5 Observations
193(1)
8.7 Summary of Evaluation for Virtual Heritage
194(2)
References
196(5)
9 Conclusion
201(10)
9.1 Cultural Understanding Through Digital Interactivity
201(6)
9.2 Future Research
207(2)
References
209(2)
Index 211
Erik is Associate Professor at Auckland School of Design, Massey University, and a member of IGDA (International Game Developers Association), DiGRA, and ICIP (ICOMOS International Committee on Interpretation and Presentation of Cultural Heritage Sites). He graduated in architecture, philosophy, and engineering (Geomatics). His doctoral thesis Evaluating Cultural Learning in Virtual Environments (sponsored by an Australian Research Council industry grant) involved the design and evaluation of online virtual environments; the industry partner was Lonely Planet. Since his PhD he has supervised or collaborated on various games and virtual environment projects, mostly based on cultural learning, spatial projection, or physical computing. He has taught game design, interaction design, user experience design, architectural design, digital media and CAD. He is now the Associate Professor, Research and Postgraduate Director, School of Design, College of Creative Arts, Massey University, New Zealand. His research areas include: game design, virtual heritage (digital and online interpretations of culture), architectural visualization, serious gaming (using game engines to teach archaeology), innovative peripherals and physical computing (tangible computing, biofeedback, surround displays), interactive narrative, and evaluation techniques for the user experience of interactive spatial media.