We All Live in a Virtual Submarine

Our seas and oceans hide a plethora of archaeological sites such as ancient shipwrecks that, over time, are being destroyed through activities such as deepwater trawling and treasure hunting. In 2006, a multidisciplinary team of 11 European institutions established the Venus (Virtual Exploration of Underwater Sites) consortium to make underwater sites more accessible by generating thorough, exhaustive 3D records for virtual exploration

A framework study on the use of immersive XR technologies in the cultural heritage domain

Most cultural promotion and dissemination are nowadays performed through the digitization of heritage sites and museums, a necessary requirement to meet the new needs of the public. Augmented Reality (AR), Mixed Reality (MR), and Virtual Reality (VR) have the potential to improve the experience quality and educational effect of these sites by stimulating users’ senses in a more natural and vivid way. In this respect, head-mounted display (HMD) devices allow visitors to enhance the experience of cultural sites by digitizing information and integrating additional virtual cues about cultural artifacts, resulting in a more immersive experience that engages the visitor both physically and emotionally. This study contributes to the development and incorporation of AR, MR, and VR applications in the cultural heritage domain by providing an overview of relevant studies utilizing fully immersive systems, such as headsets and CAVE systems, emphasizing the advantages that they bring when compared to handheld devices. We propose a framework study to identify the key features of headset-based Extended Reality (XR) technologies used in the cultural heritage domain that boost immersion, sense of presence, and agency. Furthermore, we highlight core characteristics that favor the adoption of these systems over more traditional solutions (e.g., handheld devices), as well as unsolved issues that must be addressed to improve the guests’ experience and the appreciation of the cultural heritage. An extensive search of Google Scholar, Scopus, IEEE Xplore, ACM Digital Library, and Wiley Online Library databases was conducted, including papers published from January 2018 to September 2022. To improve review reporting, the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines were used. Sixty-five papers met the inclusion criteria and were classified depending on the study’s purpose: education, entertainment, edutainment, touristic guidance systems, accessibility, visitor profiling, and management. Immersive cultural heritage systems allow visitors to feel completely immersed and present in the virtual environment, providing a stimulating and educational cultural experience that can improve the quality and learning purposes of cultural visits. Nonetheless, the analyzed studies revealed some limitations that must be faced to give a further impulse to the adoption of these technologies in the cultural heritage domain

Imagining technology-enhanced learning with heritage artefacts: teacher-perceived potential of 2D and 3D heritage site visualisations

Background: There is much to be realised in the educational potential of national and world heritage sites. Such sites need to be supported in sharing their resources with a wide and international public, especially within formal education. Two-dimensional (2D) and three-dimensional (3D) heritage site visualisations could serve this need. Our study focuses on the teacher-perceived possibilities and benefits for education around such visualisations. Purpose: We describe how a group of UK teachers perceive the potential of cross-curricular learning that could arise from an Italian world heritage site. The teachers commented on 2D visualisations of artefacts from this site, as well as the design of a 3D immersive environment to serve educational purposes. We consider as follows: (1) how the cross-curricular teaching potential of such resources is perceived, and (2) what design features of a 3D immersive environment teachers suggest are needed for educational explorations. Sample: We recruited 10 teachers from the Midlands region of the UK and carried out semi-structured interviews. Methods: Interviews were transcribed and a thematic analysis applied to the conversations. Questioning was grounded in the examination of 2D and 3D visual resources. This provoked cross-curricular and educational design thinking. Results: Teacher responses highlighted a wide range of cross-curricular possibilities. However, they expressed a more ‘assimilative’ than ‘accommodative’ approach when relating resources to the curriculum. Such ‘assimilation’ involved seeing the site artefacts as raw material for more instrumental ‘curriculum activities’ (e.g. within art and design, geography, maths or literacy) rather than a more accommodative approach whereby curricular disciplines were exercised to make new meaning from the artefacts. In relation to 3D technology design, most teachers highlighted three technology features that would render it well matched to educational practice and three educational benefits over non-3D immersive environments. Conclusions: Teachers can easily imagine a rich range of opportunities to utilise 2D and 3D heritage site artefacts within the curriculum. However, the largely assimilative nature of this cross-curricular appropriation suggests the value of providing more guidance and support to teachers in the interpretation and application of artefacts. Their design suggestions can usefully inform construction of educational features within 3D immersive technologies that support heritage site experiences

From Physical to Digital, From Interactive to Immersive: Archaeological Uses of 3D, AR, VR, and More

The combination of improved methods and tools, widespread adoption, and continuously-falling barriers to entry has prompted the claim that we are currently living in a ‘golden age of digital archaeology’. This paper provides a background discussion of the use and evolution of digital methods and tools in archaeology, as well as a summary of the conference session “From Physical to Digital, from Interactive to Immersive: Uses of Three– Dimensional Representation, Mixed Reality, and More in the Sharing and Exploration of Archaeological Data,” held at the CAA 2017 conference in Atlanta

3D printing and immersive visualization for improved perception of ancient artifacts

This article investigates the use of 3D immersive virtual environments and 3D prints for interaction with past material culture over traditional observation without manipulation. Our work is motivated by studies in heritage, museum, and cognitive sciences indicating the importance of object manipulation for understanding present and ancient artifacts. While virtual immersive environments and 3D prints have started to be incorporated in heritage research and museum displays as a way to provide improved manipulation experiences, little is known about how these new technologies affect the perception of our past. This article provides first results obtained with three experiments designed to investigate the benefits and tradeoffs in using these technologies. Our results indicate that traditional museum displays limit the experience with past material culture, and reveal how our sample of participants favor tactile and immersive 3D virtual experiences with artifacts over visual non-manipulative experiences with authentic objects. This paper is part of a larger study on how people perceive ancient artifacts, which was partially funded by the University of California Humanities Network and the Center for the Humanities at the University of California, Merced.This is the author accepted manuscript. The final version is available from MIT Press via http://dx.doi.org/10.1162/PRES_a_0022

Experiencing sense of place in virtual and physical Avebury.

This paper discusses the findings from a project to construct a simulation of Avebury henge, a Late Neolithic/ Early Bronze Age monument in SW Britain, in a 3D, virtual world environment. The aims of the study were to explore the archaeological research and interpretation necessary to plan and construct such a simulation in an interactive, online environment, to identify which aspects of visualisation and soundscape design appear to have the greatest impact upon users’ sense of place in the virtual simulation and to explore the experiences of a small group of users in the virtual simulation and the effects of those experiences upon their sense of place at the physical site. The findings from this project demonstrated that in undertaking a simulation of an ancient site, a core set of sources need to be selected to create the main parts of the simulation. There is often much debate in archaeological literature regarding the way in which archaeological findings are interpreted, and a different virtual Avebury would be constructed if different interpretations had been chosen. Any simulation of an ancient site should therefore clearly recognise and state the basis upon which it has been designed. The evaluation showed that responses to virtual environments, and the resulting effect upon responses to physical environments, are complex and personal, resulting in a range of experiences and perceptions, suggesting that the range of users’ experiences might be a more significant issue than attempting to find any general consensus on user reactions to simulated ancient sites