Introducing Virtual Travel / 1: |
Virtual Environments / 1.1: |
Moving Past the Picture Frame / 1.2: |
Being Not-There May Be More Achievable / 1.3: |
Being Not-There May Safeguard the Place / 1.4: |
Share by Being Not-There / 1.5: |
The Implications for Virtual Travel / 1.6: |
Learning via Virtual Travel / 1.7: |
The Thorny Issue of Engagement / 1.8: |
Four Major Problems / 1.9: |
Virtual Reality and Cultural Significance / 1.10: |
References |
Technological Limitations / 2: |
Lack of Widely Distributed Technology / 2.2: |
Size, Speed and Rendering Issues / 2.3: |
Lack of Meaningful Content / 2.4: |
We Experience More than Tangible Objects / 2.5: |
The World Is More than Visual Stimuli / 2.6: |
Different People See Different Things / 2.7: |
Personalization Is Missing / 2.8: |
Lack of Contextual Evaluation / 2.9: |
Summary of Implications for Virtual Environments / 2.10: |
Virtual Places / 3: |
Place in a Virtual Space / 3.1: |
Experiential Types of Place / 3.2: |
Place as Unique Experience / 3.2.1: |
Sublime Places of Terror and Awe / 3.2.2: |
Evocative and Atmospheric Place / 3.2.3: |
Place as Stage and Playground / 3.2.4: |
Place as Trace and Palimpsest / 3.2.5: |
Requirements for Creating a Sense of Place / 3.3: |
Place Requires Embodiment / 3.3.1: |
Place Requires Paths and Centers / 3.3.2: |
Response to Place Requires Ongoing Feedback / 3.3.3: |
Place Requires Social 'Embeddedness' / 3.3.4: |
Place Is Mark-Able / 3.3.5: |
Evoking Place via Arts and Sciences / 3.4: |
Architecture / 3.4.1: |
Art and Artifacts / 3.4.2: |
Literature / 3.4.3: |
Film / 3.4.4: |
Cultural Geography in Place and Culture / 3.4.5: |
Cyberspace Critics and Criteria / 3.5: |
Cyberspaces Lack Limits / 3.5.1: |
Cyberspaces Lack 'Play' Through Objects / 3.5.2: |
Cyberspaces Lack Life History / 3.5.3: |
Cyberspace Concepts and Terminology / 3.6: |
Suggestions for Creating Cyberplace / 3.6.1: |
Three Types of Virtual Environments / 3.7: |
Inert 'Explorative' Environments / 3.7.1: |
Activity-Based Environments / 3.7.2: |
Cultural or 'Hermeneutic' Environments / 3.7.3: |
Matching Virtual Environments and Technologies / 3.8: |
Terms / 3.9: |
Summary of Place Theory / 3.10: |
Cultural and Social Presence / 4: |
Why Photorealism Does Not Convey Cultural Significance / 4.1: |
Virtual Heritage Is Not Realism / 4.1.1: |
Phobic Triggers and Experiential Realism / 4.1.2: |
Archaeology and History Is Not Set in Concrete / 4.1.3: |
Confusion over Cultural Presence / 4.2: |
What Is Culture? / 4.3: |
What Is a Culturally Significant Place? / 4.3.1: |
How Culture Is Learnt / 4.3.2: |
Social and Cultural Presence / 4.3.3: |
Hermeneutic Richness, Cultural Agency / 4.4: |
Culture in Virtual Worlds / 4.5: |
Useful Cultural Presence / 4.6: |
Summary of Cultural Presence Theory / 4.7: |
Game-Style Interaction / 5: |
Defining Games / 5.1: |
Defining Game-Style Interaction / 5.2: |
Useful Features of Games / 5.2.1: |
Engaging Features of Games / 5.2.2: |
Case Study: Heretic II / 5.3: |
Dynamic Places / 5.4: |
Dynamic Place Design: Unreal Palenque and Xibalba / 5.4.1: |
Racing in a Tent: Spatial and Haptic Immersion / 5.4.2: |
Constrained Tasks and Goals / 5.5: |
Interaction Modes in Palenque Using Adobe Atmosphere / 5.5.1: |
Constrained Tasks in Journey to the West / 5.5.2: |
Social Agency: Avatars Agents and Actors / 5.6: |
Agency in a Marco Polo Game / 5.6.1: |
Artifacts / 5.7: |
Mapping to Aid Navigation for Egyptian Mythology / 5.7.1: |
Mapping Through Drawing / 5.7.2: |
Game-Based Learning / 5.8: |
Procedural Versus Prescriptive Learning / 5.8.1: |
Game Genres and Cultural Learning / 5.9: |
Snakes and Ladders / 5.9.1: |
Different Perspectives per Player / 5.9.2: |
Role Playing / 5.9.3: |
The Spy Game / 5.9.4: |
Issues of Time: Interaction Versus Historical Authenticity / 5.10: |
Ancillary Non-celebrity Characters / 5.10.1: |
Autonomous Action, Immutable Results / 5.10.2: |
Groundhog Day / 5.10.3: |
Possible Worlds / 5.10.4: |
Diary of Emotional Development / 5.10.5: |
Surfing Memetic Drift / 5.10.6: |
Augment History with Real World / 5.10.7: |
Augmented Cultural Exchange / 5.10.8: |
Game-Based Evaluation / 5.10.9: |
Summary of Games-Style Interaction / 5.12: |
Playing with the Past / 6: |
What Is Virtual Heritage? / 6.1: |
The Problem of Culture / 6.2: |
Virtual Heritage Case Studies / 6.3: |
Art History in Online Worlds: Santa Maria, Italy / 6.3.1: |
Virtual Forbidden City, China / 6.3.2: |
Dordrecht Monastery, The Netherlands / 6.3.3: |
Urban Design and Virtual Sambor, Cambodia / 6.3.4: |
FAS Palace, Mesopotamia / 6.3.5: |
Culture and History Inside a Game: Palestine and Italy / 6.3.6: |
Virtual Egyptian Temple / 6.3.7: |
Dome Visualization: Mawson's Hut, Antarctica / 6.3.8: |
Heritage Tour: Macquarie Lighthouse, Australia / 6.3.9: |
Panoramic Explorations: PLACE-Hampi, India / 6.3.10: |
Performance and Archaeology: Spaces of Mjalnar, Malta / 6.3.11: |
Summary / 6.4: |
Augmenting the Present With the Past / 7: |
What Is Augmented Reality? / 7.1: |
Blends of Augmented Reality and Augmented Virtuality / 7.2: |
Inserted Walk-About Reality, University of South Australia / 7.2.1: |
Overlaid Walk-About Reality, Columbia University / 7.2.2: |
Bubbled Reality Example 3: Mawson's Huts, Antarctica / 7.2.3: |
Other Types of Mixed Reality / 7.3: |
Data-Streamed Virtual Reality / 7.3.1: |
Augmented Virtuality / 7.3.2: |
Audio Augmented Reality / 7.3.3: |
Participant and Audience-Augmented Virtuality / 7.3.4: |
Augmented Reality and Virtual Heritage / 7.4: |
Evaluating Virtual Heritage / 7.5: |
Testing That Which Is Not Yet Fully Tested / 8.1: |
Evaluating Cultural Learning / 8.2: |
Virtual Heritage Evaluation / 8.3: |
What Types of Evaluation Are There? / 8.4: |
Expert Testing / 8.4.1: |
Content and Media Comparison Studies / 8.4.2: |
Physiological Testing / 8.4.3: |
Task Performance / 8.4.4: |
Surveys/Questionnaires / 8.4.5: |
Ethnographic Evaluation / 8.4.6: |
Evaluating Virtual Heritage Environments / 8.5: |
Task Performance and Game Evaluation / 8.5.1: |
Statistical Methods Suitable for Virtual Heritage Projects / 8.5.2: |
Evaluation Case Study: Palenque / 8.6: |
Pilot Study / 8.6.1: |
Evaluation / 8.6.2: |
Evaluation Questions / 8.6.3: |
Schedule of Evaluation / 8.6.4: |
Observations / 8.6.5: |
Summary of Evaluation for Virtual Heritage / 8.7: |
Conclusion / 9: |
Cultural Understanding Through Digital Interactivity / 9.1: |
Future Research / 9.2: |
Index |
Introducing Virtual Travel / 1: |
Virtual Environments / 1.1: |
Moving Past the Picture Frame / 1.2: |