Tele-archaeology

Tele-archaeology, in its basic sense, may be defined as the use of telecommunications to provide archaeological information and services. Two different kinds of technology make up most of the tele-archaeology applications in use today. The first is used for transferring information from one location to another. The other is multi-way interactive knowledge distribution. In this paper we examine the possibilities of tele-archaeology, and offer a general framework to implement this technology. The main positive effect of tele-archaeology is the move towards a real “distributed interactive archaeology”, which means that archaeological knowledge building is a collective and dynamic series of tasks and processes. An individual archaeologist cannot fully explain his/her data because the explanatory process needs knowledge as raw material, and this knowledge does not exist in the individual mind of the scientist but in the research community as a global set

The design of 3D cyberspace as user interface: Advantages and limitations

Virtual reality propagandists, technologists and the Internet community have long debated the issue of the usability of online three-dimensional (3D) environments. A lot of work was published about the benefits of 3D spaces for human-computer interaction and information visualisation due to their realism (Anders, Kalawsky, Crossley, Davies, McGrath, Rejman-Greene, 1998, Hamit, 1993, Heim, 1992, Aukstakalnis, Blatner, Roth, 1992). This topic also receives continuous industry support including standardisation of Virtual Reality Modeling Language ( VRML, VRML Consortium, 1997) and the more recent Macromedia & Intel alliance to bring web 3D to the mainstream (200 1, Intel Corporation). The actual implementation of this technology is, however, still challenging (McCarthy & Descartes, 1998) and minimal because 3D is too new and waiting for good design to be discovered (Nielsen, 1998). The practical aim of this project is to fulfil the niche by creating a functional 3D interface for the access of two-dimensional (2D) information, such as text, using VRML. The theoretical aim is to contribute to further research into 3D usability by describing and analysing the design process in terms of possibilities, challenges and limitations

Digital creativity - an investigation into architectural design in the electronic age

A dissertation submitted to the University of Bedfordshire in partial fulfilment of the requirements for the degree of Master of Philosophy.This study explores approaches to architectural creativity and collaborative design in the contemporary digital design context. The thesis identifies key trends and developments in the historical and present-day evolution of the creative use of computers by architects in education and practice. It examines the current manifestations of digitally supported architectural design, and investigates the ways in which computers and electronic communication technologies are being utilised in the design process. In the context of, and informed by, this investigative survey the author evolves three key models or analogues for the application of computer based techniques in the creative design process. Each design analogue has been tested with the collaboration of undergraduate architecture students and their academic teaching staff through experimental pedagogic design projects, which have been used to evaluate their validity and effectiveness. The working principles developed through these projects have also been applied in a realworld context, through a live professional case study architectural project undertaken by the author in commercial architectural practice. The concluding section examines the current state of play in the relationship between theoretical ideas and the practice of architectural design using digital techniques, to assess the methodological validity of the design analogues in the educational and practice spheres, and to make recommendations for future areas of research

Material Synthesis: Negotiating experience with digital media

A DVD of six digital film works accompanying the thesis is available with the print copy of this thesis, held at the University of Waikato Library.Given the accessibility of media devices available to us today and utilising van Leeuwen's concept of inscription and synthesis as a guide, this thesis explores the practice of re-presenting a domestic material object, the Croxley Recipe Book, into digital media. Driven by a creative practice research method, but also utilising materiality, digital storytelling practices and modality as important conceptual frames, this project was fundamentally experimental in nature. A materiality-framed content analysis, interpreted through cultural analysis, initially unraveled some of the cookbook's significance and contextualised it within a particular time of New Zealand's cultural history. Through the expressive and anecdotal practice of digital storytelling the cookbook's significance was further negotiated, especially as the material book was engaged with through the affective and experiential digital medium of moving-image. A total of six digital film works were created on an accompanying DVD, each of which represents some of the cookbook's significance but approached through different representational strategies. The Croxley Recipe Book Archive Film and Pav. Bakin' with Mark are archival documentaries, while Pav is more expressive and aligned with the digital storytelling form. Spinning Yarns and Tall Tales, a film essay, engages and reflects with the multiple processes and trajectories of the project, while Extras and The Creative Process Journal demonstrate the emergent nature of the research. The written thesis discusses the emergent nature of the research process and justifies the conceptual underpinning of the research

The Memory Store: A collaborative online fiction, which explores the opportunities for participatory narrative experiences afforded by the shared space of the Internet

This practice-led thesis explores the opportunities digital technologies afford for writers to create online fictional spaces to share with readers. The research asks how might authors utilise the shared space of the Internet to offer collaborative narrative experiences? Part One of the thesis is a creative project, The Memory Store, http://thememorystore.org a hypertext, detective fiction, set in Liverpool in 2115, written with contributions from a hundred people. The work experiments with authorship as a collective experience in an online environment, considering ways in which we might collaboratively construct stories. This experimental project differs in its ambition from other collaborative online writing projects, such as MacGuffin (Comma Press and Manchester Metropolitan University, 2015) and Rainy City Stories (Openstories, 2008) by exploring methods to structure writing contributed by participants so that reading can flow from one writer to another with a narrative connection established by the site’s interface. Part Two of the thesis is a critical reflection that explores theories that have informed my creative practice. The research examines what Manovich described as ‘spatial wandering,’ (2001, p49) Nelson’s term ‘intertwingularity’ (1974, p29) and ‘the bricolage’ that Turkle (1995, p51) referred to in respect of the Internet, to approach conceptualisations of digital technology as spatial, creating environments through which readers navigate to interconnected experiences, facilitating exploration, encouraging participation, communication and sharing. The thesis also considers narrative space, detective fiction and the archiving of collective memory in online environments to support the development of the creative project

The Disappearing Frame.: A Practice-based investigation into composing virtual environment artworks

Through creative art making practice, research seeks to contribute a body of knowledge to an under researched area by examining how key concepts germane to computer based, interactive, three-dimensional, virtual environment artworks might be explicated, potential compositional issues characterised, and possible production strategies identified and/or proposed. Initial research summarises a range of classifications pertaining to the function of interactivity within virtual space, leading to an identification and analysis of a predominant model for composing virtual environment media, characterised as the "world as model": a methodological approach to devising interactive and spatial contexts employing visual and behavioural modes based on the physical world. Following this alternative forms of environmental organisation are examined through the development of a series of artworks beginning with Bodies and Bethlem, and culminating with Reconnoitre: a networked environment, spatially manifest through performative user input. Theoretical corollaries to the project are identified placing it within a wider critical context concerned with distinguishing between the virtual as a condition of simulation: a representation of something pre-existing, and the virtual as potential structure: a phenomena in itself requiring creative actualisation and orientated toward change. This distinction is further developed through an analysis of some existing typologies of interactive computer based art, and used to generalise two base conditions between which various possibilities for practice might be situated: the "fluid" and "formatted" virtual

The disappearing frame: a practice-based investigation into composing virtual environment artworks

Through creative art making practice, research seeks to contribute a body of knowledge to an under researched area by examining how key concepts germane to computer based, interactive, three-dimensional, virtual environment artworks might be explicated, potential compositional issues characterised, and possible production strategies identified and/or proposed. Initial research summarises a range of classifications pertaining to the function of interactivity within virtual space, leading to an identification and analysis of a predominant model for composing virtual environment media, characterised as the "world as model": a methodological approach to devising interactive and spatial contexts employing visual and behavioural modes based on the physical world. Following this alternative forms of environmental organisation are examined through the development of a series of artworks beginning with Bodies and Bethlem, and culminating with Reconnoitre: a networked environment, spatially manifest through performative user input. Theoretical corollaries to the project are identified placing it within a wider critical context concerned with distinguishing between the virtual as a condition of simulation: a representation of something pre-existing, and the virtual as potential structure: a phenomena in itself requiring creative actualisation and orientated toward change. This distinction is further developed through an analysis of some existing typologies of interactive computer based art, and used to generalise two base conditions between which various possibilities for practice might be situated: the "fluid" and "formatted" virtual.

A MUSEUM WITHOUT WALLS: A DIGITAL TOOL FOR THE ROYAL ARMOURIES

This report, prepared for the Royal Armouries Education Center located at Her Majesty\u27s Tower of London, describes the creation of three tools to assist archiving and exhibiting of information contained in the White Tower. The tools include a digital archive, a virtual tour, and a virtual Line of Kings exhibit. This project responds to the Royal Armouries\u27 staff\u27s requests for an updated archive and an increase in accessibility by providing better-maintained exhibit records and online access to the White Tower

Drones, Signals, and the Techno-Colonisation of Landscape

This research project is a cross-disciplinary, creative practice-led investigation that interrogates increasing military interest in the electromagnetic spectrum (EMS). The project’s central argument is that painted visualisations of normally invisible aspects of contemporary EMS-enabled warfare can reveal useful, novel, and speculative but informed perspectives that contribute to debates about war and technology. It pays particular attention to how visualising normally invisible signals reveals an insidious techno-colonisation of our extended environment from Earth to orbiting satellites