Beyond virtual cultural tourism: history-living experiences with cinematic virtual reality

Virtual reality offers unprecedented opportunities for creating cultural tourism experiences that tell visitors emotionally engaging stories about the past.  This paper focuses onthe latest frontier of immersive storytelling rivalling feature films, cinematic virtual reality, which can immerse users into 360-degree films making them feel like living the story. Through a qualitative analysis of five projects, this paper explores how this new media form has been applied for cultural heritage storytelling and analyses the reactions of users to the historyliving experiences with an emphasis on their emotional responses. Based on the findings of the analysis, implications are discussed for the design of VR experiences in cultural tourism

The Virtual Living Museum: Integrating the Multi-Layered Histories and Cultural Practices of Gadara’s Archaeology in Umm Qais, Jordan

This paper discusses a novel technological approach using virtual heritage technology to reflect Umm Qais heritage’s intertwining and interdependent nature that shapes its identity and value today. It developed the first model of a “virtual living museum” that brings both the tangible and intangible heritage of the site and community together into an integrated virtual environment that gives equal importance to local community narratives, traditions and history. We argue that integrating both human and digital records enriches the virtual twin of cultural heritage sites as a living and more humane experience that best represents the multi-layered and overlapping history of ancient Gadara’s archaeology and the cultural practices within Hara Fouqa and its Ottoman houses. As heritage is neither one dimensional nor frozen in time, virtual experiences must be fluid, dynamic, inclusive, integrative and open to change, reflecting living historical narratives

A contagious living fluid: objectification and assemblage in the history of virology

This article deals with the birth of `the virus' as an object of technoscientific analysis. The aim is to discuss the process of objectification of pathogen virulence in virological and medical discourses. Through a short excursion into the history of modern virology, it will be argued that far from being a matter of fact, pathogen virulence had to be `produced', for example in petri-dishes, test-kits and hyper-real signification-practices. The now commonly accepted objective status of `the virus' has been an accomplishment of a complex ensemble of actors. Indeed, this illustrates why objectification rather than objectivity has become the main focus of science and technology studies. The objectification of `the' virus was by no means a smooth process. It involved more than five decades of highly speculative and fragmented research projects before it became actualized as a separate discipline under the heading of virology. The specific objectification of viruses took place through an inter-disciplinary de-differentiation of research questions, methodologies, techniques and technologies. The main argument of this article is that viruses only became intelligible after the establishment of a virology-assemblage. Its inauguration in the early 1950s was radical and sudden because only then could the various substrands of virological technoscience affect each other through deliberate enrolment, and engender a universal intelligibility

Halcyornis toliapicus (aves: Lower Eocene, England) indicates advanced neuromorphology in Mesozoic Neornithes

Our recent X-ray micro computer-tomographic (μCT) investigations of Prophaethon shrubsolei and Odontopteryx toliapica from the Lower Eocene London Clay Formation of England revealed the avian brain to have been essentially modern in form by 55 Ma, but that an important vision-related synapomorphy of living birds, the eminentia sagittalis of the telencephalon, was poorly developed. This evidence suggested that the feature probably appeared close to the end of the Mesozoic. Here we use μCT analysis to describe the endocranium of Halcyornis toliapicus, also from the London Clay Formation. The affinities of Halcyornis have been hotly debated, with the taxon referred to the Charadriiformes (Laridae), Coraciiformes (Alcedinidae, and its own family Halcyornithidae) and most recently that Halcyornithidae may be a possible senior synonym of Pseudasturidae (Pan-Psittaciformes). Unlike Prophaethon and Odontopteryx, the eminentia sagittalis of Halcyornis is strongly developed and comparable to that of living species. Like those London Clay taxa, the eminentia sagittalis occupies a rostral position on the telencephalon. The senses of Halcyornis appear to have been well developed. The length of the cochlear duct of the inner ear indicates a hearing sensitivity within the upper range of living species, and enlarged olfactory lobes suggest a reasonable reliance on sense of smell. The optic nerves were especially well developed which, together with the strong development of the eminentia sagittalis, indicates a high degree of visual specialization in Halcyornis. The advanced development of the eminentia sagittalis further supports a Mesozoic age for the appearance of this structure and associated neural architectural complexity found in extant Aves. The eminentia sagittalis of living Psittaciformes is situated caudally on the telencephalon, making a Pan-Psittaciformes relationship unlikely for Halcyorni

The Art of the Interface in Mixed Realities: Predessors and Visions

The approach of this paper is broad and historical; it attempts to expand a narrow technical view by looking at historic art media together with contemporary media art. By focusing on recent art against the backdrop of historic developments, it is possible to better analyze and grasp what is really new in media art and, using cornerstones from the history of media of illusion and immersion, it is a material and theoretical contribution to a new, emerging discipline: the science of the image. Where and how does the new genre of virtual art fit into the art history of illusion and immersion in the image, that is, how do older elements continue to live on and influence this contemporary art? What part does this play in the current metamorphosis of the concepts of art and the image

Natural History Collections: Teaching About Biodiversity Across Time, Space, and Digital Platforms

Natural history collections offer unique physical and virtual opportunities for formal and informal progressive learning. Collections are unique data in that they each represent a biological record at a single place and time that cannot be obtained by any other method. Collections-based experiences lead to an increased understanding of and substantive interaction with the living world. Global biological diversity and changes in that diversity are directly tracked through specimens in collections, regardless of whether changes are ancient or recent. We discuss how collections, specimens, and the data associated with them, can be critical components linking nature and scientific inquiry. Specimens are the basic tools for educating students and interested citizens through direct or virtual contact with the diversity of collections. Such interactions include instruction in a formal classroom setting, volunteering to gather and curate collections, and informal presentations at coffee shops. We emphasize how the recent surge in specimen-based digitization initiatives has resulted in unprecedented access to a wealth of biodiversity information and how this availability vastly expands the reach of natural history collections. The emergence of online databases enables scientists and the public to utilize the specimens and associated data contained in natural history collections to address global, regional, and local issues related to biodiversity in a way that was unachievable a decade ago

"In the middle of everywhere" : a phenomenological study of mobility and dwelling amongst rural elders

This study aimed to investigate the phenomenon of the meaning of mobility for elders living in rural areas. A phenomenological study was undertaken with older people living in rural South West England and Wales. Ten interviews were undertaken in peoples’ homes and focused on the spatial dimensions of what it was like to live in the rural area and the everyday experiences of traversing rural space. Spatial mobility was experienced by our sample as any of the possible ways that achieved personal life activities where the traverse of space was normally relevant. We describe the meaning of mobility sensitised by the terms used in the “continuum of mobilities” (Parkhurst et al., 2012): “literal mobility,” “virtual mobility,” “potential mobility,” and “imaginative mobility.” Our phenomenological findings revealed that the transport and mobility needs of older people living in rural areas could not be meaningfully understood without understanding their well-being priorities, the kinds of movement that constituted well-being, and how this related to the phenomenon of “dwelling,” which included their feeling of “at-homeness” in their rural environment. But also what emerged was a second phenomenon that we have called rural living as a portal to well-being in older people. The connection between well-being and rural place was constituted by two interrelated experiences: the importance of dwelling and slowing down in older age, and the importance of a “rich textured locale” for the well-being of rural older people. We conclude by considering how the elders in our study may have something important to remind us: that mobility and sense of place are mutually implicated and that our present culture places an over emphasis on mobility, which may obscure the value of dwelling