A Virtual Reality Platform for Analyzing Remote Archaeological Sites

This paper describes a Virtual Reality (VR) prototype developed to help archaeologists and other stakeholders explore and analyse archaeological data in a more immersive context. We describe a VR reconstruction of Pleito Cave, a fragile world class rock-art site with accessibility limitation. Key stakeholders are identified and a prototype is described that provides a VR platform for visualizing and interacting with complex archaeological data (gathered from techniques such as decorrelation stretch and X-ray fluorescence) virtually ‘in situ’, in a way that would not be possible at the real site. The prototype allows multiple remote users to interact with the cave together remotely providing opportunities for collaborative interpretation and analysis of archaeological data. We also present a survey-based evaluation in which both archaeologists and Native American stakeholders indicate positive responses for measures of both engagement and value

‘Virtual Reconnections’: Using VR storytelling to reconnect to Indigenous cultural Artefacts

The emergence of computer-generated technologies and their increasing affordability has been welcomed with enthusiasm and it is now reaching maturity across different sectors, from the scientific and technological field to educational and recreational contexts. With an eye on its criticalities, this paper reflects on the ways in which VR can be used to engage with Indigenous artefacts and knowledges. Primarily, this work looks at VR as a symbolic and concrete space for the reconfiguration of Indigenous storytelling and the mapping of new cartographies. It does so by reflecting on the possibilities and limitations of a collaborative project that investigates the potential of VR to tell stories through objects (through the mobilisation of strong affective responses), transmit knowledge and educate. The project is a collaborative venture between the author, an Italian scholar based in London, a Greek scholar and VR artist based in London, a London-based Sierra Leonian artist and a Torres Strait Islander artist who resides in Australia. The identities of the people involved in the project are key to understanding VR as a space for dialogue, and a place to think about the situated and subjective practices which are embodied and embedded in the narrative and structure of the VR experience itself. Therefore, we have embraced Linda Tuhiwai Smith’s approach to decolonising methodologies, together with community-based participatory research as key frameworks to understanding intercultural collaboration, the handling of Indigenous knowledges, intellectual property, data sovereignty, and the digitisation of tangible and intangible Indigenous cultural heritage. Investigations into the uses of VR in maintaining cultural heritage and Indigenous cultural artefacts have been undertaken by some scholars (see Newell, for instance), but more research needs to be done to shed light on the complexities of working with these technologies in terms of access, sustainability and effective change. This paper thus looks at VR as a platform for Indigenous communities across cultures to think about sustainable futures as old and new challenges intervene in cultural maintenance, transmission and revitalisation. Within this context, spatial elements and trajectories of Indigenous artefacts that have been removed from their original place of use to travel to the heart of the Empire have been considered. Yet, while here we are not directly engaging with the role of museums and demands of repatriation, we nevertheless argue that ‘digital/virtual reconnections’ could be the first step towards encouraging the younger generations to engage and/or re-engage with aspects of culture that may feel distant. Moving beyond the concept of digital repatriation, the term ‘reconnections’ captures the possibilities of VR in terms of agency, maintenance, revival and reintegration of important cultural objects/knowledges. The Bondo Mask in Sierra Leone and the Turtle Shell mask in the Torres Strait Islands carry with them deep transcultural and cross-cultural meanings, practices and traditions that VR technologies and environments can help revive. Thus, this work sets out to further investigate if and how immersive virtual approaches to Indigenous cultures can strengthen a sense of community and pride in cultural identity while healing transgenerational fractures and reviving deep-seated traditions so as to move confidently towards the future. Through a series of critical ethnographic methods, two of the researchers have and will continue to carry out investigations and fieldwork within their communities of origin in an effort to gather direct testimonies and guidelines from Elders and community members to shape the project in ways that are meaningful and contextual

Capturing Aboriginal heritage in virtual reality

The culture of Aboriginal Australians is unique and diverse, but, unfortunately, it is under threat of extinction. This is the culture that does not rely on written records, as knowledge is predominantly being shared in the form of oral tales and demonstrations. There are also many sensitivities associated with sharing knowledge with outsiders and with viewing pictures or videos of deceased people. To address these limitations we show how the combination of Virtual Reality, Motion Capture and Articial Intelligence can help with providing interactive facilities for Aboriginal People that allow for preserving their cultural heritage and sharing it with others