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The first half of 2023 was dominated by a public discussion of the nature and implications of generative artificial intelligence (genAI) models that are poised to become the most significant cross-cultural global disruptor since the invention of the World-Wide Web. It can be predicted that genAI will affect how cultural heritage is being managed and practiced, primarily by providing analysis and decision-making tools, but also by genAI generated texts and images, in particular reconstructions of objects and sites. The more speculative interpretations of contexts and alternative interpretations generated by genAI models may constitute manifestations of cultural heritage in their own right. But do these constitute human cultural heritage, or are they AI cultural heritage? This paper is a deliberation of the realities and future(s) of cultural heritage in a genAI and post-genAI world.

The first half of 2023 was dominated by a public discussion of the nature and implications of generative artificial intelligence (genAI) models that are poised to become the most significant cross-cultural global disruptor since the invention of the World-Wide Web. It can be predicted that genAI will affect how cultural heritage is being managed and practiced, primarily by providing analysis and decision-making tools, but also by genAI generated texts and images, in particular reconstructions of objects and sites. The more speculative interpretations of contexts and alternative interpretations generated by genAI models may constitute manifestations of cultural heritage in their own right. But do these constitute human cultural heritage, or are they AI cultural heritage? This paper is a deliberation of the realities and future(s) of cultural heritage in a genAI and post-genAI world. [ABSTRACT FROM AUTHOR]

Engaging with digital heritage requires understanding not only to comprehend what is simulated but also the reasons leading to its creation and curation, and how to ensure both the digital media and the significance of the cultural heritage it portrays are passed on effectively, meaningfully, and appropriately. The United Nations Educational, Scientific, and Cultural Organization defines 'digital heritage' to comprise of computer-based materials of enduring value some of which require active preservation strategies to maintain them for years to come. With the proliferation of digital technologies and digital media, computer games have increasingly been seen as not only depicters of cultural heritage and platforms for virtual heritage scholarship and dissemination but also as digital cultural artefacts worthy of preservation. In this chapter, we examine how games (both digital and non-digital) can communicate cultural heritage in a galleries, libraries, archives, and museums [GLAM] setting. We also consider how they can and have been used to explore, communicate, and preserve heritage and, in particular, Indigenous heritage. Despite their apparently transient and ephemeral nature, especially compared to conventional media such as books, we argue computer games can be incorporated into active preservation approaches to digital heritage. Indeed, they may be of value to cultural heritage that needs to be not only viewed but also viscerally experienced or otherwise performed. [ABSTRACT FROM AUTHOR]

Urban identity emerges from the intricate layering of diverse historical structures, emphasizing the importance of understanding and showcasing architectural heritage of different periods. Today, digital technologies, such as 3D modeling, virtual reality (VR), augmented reality (AR), and online accessibility, play a crucial role in identifying and promoting cultural heritage. These technologies can bring into life historical objects, particularly those in inaccessible locations or lost over time. In the face of significant architectural losses amid city transformations, digital techniques assume great importance. This research focuses on a neoclassical villa on Durrës street in Tirana, known as the "Former Yugoslav Embassy," a rare remnant from the Italian period. The study explores innovative digital methods to delve into architectural heritage, offering the public and professionals' access to historical information, archival materials, and a virtual exploration of the villa. The aim of the research is to build a methodology and develop a 3-dimensional web application, in which users can interact with the space, observing the building in both its current and historical states. The study not only contributes to the understanding of architectural heritage but also comprehensively outlines the entire process of conceptualizing and developing this web application. [ABSTRACT FROM AUTHOR]

This paper investigates the potential of dense multi-image 3D photogrammetric reconstruction of destroyed cultural heritage monuments by employing public domain imagery for heritage site visitors. This work focuses on the digital reconstruction of the Temple of Bel, one of the heritage monuments in Palmyra, Syria, which was demolished in the summer of 2015 due to armed conflict. This temple is believed to be one of the most significant religious structures of the first century AD in the Middle East and North Africa (MENA) region with its unique design and condition before destruction actions. The process is carried out using solely one source of images; the freely available visitors' images collected from the social media platforms and web search engines. This paper presents a digital 3D reconstruction workflow for the collected images using an advanced photogrammetry pipeline and dense image matching software. The virtually reconstructed outputs will be managed and implemented efficiently in Unity3D to create an entire 3D virtual interactive environment for the deconstructed temple to be visualised and experienced using the new Oculus Quest VR headset. The virtual Palmyra's visitor will be offered an enhanced walk-through off-site interactive, immersive experience compared to the real-world one, which is non-existing and unobtainable at the site in the current time. [ABSTRACT FROM AUTHOR]

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The Greek deity Dionysos had a particular affinity for war galleys, a relationship perhaps explained by the Homeric Hymn to Dionysos in which Tyrsenian pirates kidnap him on their galley. Soon grape vines entangle the rigging and some of the pirates attempt to escape their fate by jumping into the sea: Dionysos transforms them into dolphins. This hymn served as an occasional motif in pagan art and may explain the miniaturized replicas of seagoing oared ships that played an integral role in the ancient Dionysian cult. These flimsy Dionysian ship carts moved overland in parades, either on wheels or upon the shoulders of celebrants. While the earliest examples may date to the Late Bronze Age, they are best known from a series of three late Archaic-period representations on black-figure skyphoi, now in museums in Athens, Bologna and London. No two Archaic-period Dionysian ship-cart representations are identical in all details. While perhaps due to painters' whims, this diversity in appearance may reflect changes to the ship carts at each annual appearance, analogous to modern-day parade floats. Due to the two-dimensional nature of these ship-cart images, it is impossible today to determine whether the Dionysian ship carts reflected in them consisted of actual vessels-purpose-built and placed on wagons during the procession, employed solely for the Dionysian celebrations-or floats in the form of miniaturized galleys. This paper supplies context and explains the process of creating a three-dimensional digital reconstruction of a generic Late Archaic-period Dionysian ship cart employing contemporaneous imagery and artifacts.

This study aimed to revitalize ancient cities' history, culture, and social life, along with their physical environments, through computer-aided, three-dimensional (3D) images. This study will become an instrument for visualization in 3D ancient cities whose historical remains are not intact and are perhaps known only through books, maps, pictures, and inscriptions. Following historical investigations and comparative analyses of similar examples, objects or structures subject to change over centuries, partially damaged, or lost were visualized through the production of models that reflect their original historic design. The images obtained were converted to animations of 3d models with motion, sound, light, and related effects. In addition to animations, this study implemented another technique concerning cities: the Ancient Antioch—the modeled space was installed in a game engine to obtain simultaneous images. Despite certain limitations, the study findings, adequately based on scientific evidence, provide rich visual content for practical use in the three domains of presentation, research, and education. The hope is that this socio-historical, scientific, and esthetic study, established to model, visualize, and animate city life from approximately 1800–2000 years ago, will be instrumental to the further development of its mixed methodologies and provide a new synthetic process for an ongoing feedback loop. Perhaps the most important output of this study was the use of almost all of the images obtained in the Hatay Archaeology Museum. After the final stage of preparation, the presentation of Ancient Antioch is planned to be done in 2023 of March and opened to visitors on special platforms with Unity 3D. An actual excavation area's data can be constantly modeled and remodeled, thus improving the scientific feasibility, quality, and uniqueness of excavation work and the dissemination of scientific results. [ABSTRACT FROM AUTHOR]

Considering the impacts COVID-19 has had on travel and many economies, developing virtual experiences that are well-received by different publics has become even more prominent. This paper shows how a multimodal discourse analysis can be used to as a bottom-up approach to identifying narrative themes that can be used in virtual experiences for cultural heritage sites. A case study on 11 UNESCO World Heritage Australian Convict Sites shows how diverse sources of user-generated content, tourism marketing materials and historical information can be analysed and then remixed into a virtual tour of the sites in the form of an interactive web documentary (iDoc). Although this case study involved a total of seven narrative development phases, this paper focuses on two phases, namely how the user model and content model were determined. These models were later used to develop the resulting iDoc prototype. The user model focused on the prospective audience of cultural heritage tourists, and a content model of narrative themes for the iDoc was developed through a multimodal discourse analysis. This bottom-up approach of analysing existing cultural data allows for the discovery of the prospective audiences' interests as well as narrative themes that can be included in virtual heritage experiences. It also provides a new creative methodology that can prevent issues that may arise with top-down narratives that focus too heavily on one institutional perspective or national narrative and lack direct engagement with or understanding of today's publics. [ABSTRACT FROM AUTHOR]

The dimension of sound plays a central role as a form of cultural representation. Sound is a means of knowledge and experiential involvement, as it is inextricably linked to place and space, mind and body, cultural context and emotion. This contribution aims to explore how sound design follows different paradigms and methods in the various media. Virtual reality, videogame, cinema and documentary have differently codified rules to provide acoustic verisimilitude to the simulated space, to orient or stimulate the user, to suggest contents or evoke events and to emotionally involve the public. These rules follow artistic principles closer to psychoacoustics than to scientific reproduction of sound in the simulated space. Under what conditions, however, is the scientific simulation of an acoustic space preferable to the more common paradigms of psychoacoustics? How could this be created? Immersive and non-immersive virtual reality for cultural heritage is currently the field of experimentation most open to future developments. Some virtual reality and mixed reality applications will be presented, dedicated to archaeological or historical-artistic contexts, where a fundamental relationship between sound and multisensory interaction has been created.

In recent years, the use of VR games in cultural heritage has been growing. VR Games have increasingly found their way into museums and exhibitions, highlighting the increasing cultural value associated with games and the institutionalization of game culture. In particular, serious VR games have a variety of benefits for educational purposes. There are several studies that deployed VR games to improve visitor experiences in several contexts. However, there are not sufficient studies in the field that examine the benefits and drawbacks of VR gaming. This lack of classification studies is regarded as an obstacle to developing more effective games and proposing guidance on the best way of using them in cultural heritage. This review aims to analyze how VR games are used in cultural heritage settings, to explore the evolution and opportunities of this emerging field, the challenges and tensions these innovations present, and to collectively advance this work to benefit visitor experiences. [ABSTRACT FROM AUTHOR]

In recent years, virtual reality (VR) has been reaching its maturity level for practical applications amongst many fields of studies, especially in the exploration system of applied VR in cultural heritage that enables virtual walkthroughs. However, this study remains scattered and limited in the area of applied VR in cultural heritage. Therefore, a comprehensive systematic review is conducted to create a coherent taxonomy within this research scope through extensive article searches on VR, virtual heritage, and usability. Articles were searched from four databases, consisting of an expansive collection of literature covering studies from 2007 to January 2020. A total of 290 articles were obtained from the final data search and categorized into 4 taxonomy schemes classifications. The classes consist of VR-related review or survey articles, case studies, systems design and development, and evaluation studies. This paper also presents the robust and generic motivations based on the derived taxonomy of the integration of VR in cultural heritage in the context of software and hardware applications, designs, developments and assessments. The article searches also ascertained that applied VR in cultural heritage could broadly be utilized to provide customizable multimedia contents inside the VR environments, resulting in a higher degree of immersion, and this sense of presence, especially in the reconstruction of cultural heritage via applied VR. Henceforth, VR in cultural heritage has the power to extend its capabilities of influencing users by capturing their attention, which are essential functionalities in multimedia VR systems designed for transferring historical information in a more enriched, immersive, and effective manner. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

The architecture that the Renaissance artists depicted in their works constitutes a vast reservoir of formal solutions that influenced (and were reciprocally influenced by) built architecture. Generally painted according to a rigorous perspective structure, most painted architecture can be restituted and modelled to become part of the Virtual Heritage that develops and extends its knowledge to a wider range of people and scholars. These procedures are here applied to some of the works of Pietro Perugino and Raffaello, a master and his student, in order to define their specific approach to composition, perspective, and architecture. The application of these procedures produced some primary results—the architecture restitutions in plan and elevation or section—and some secondary results concerning the way painted architecture was conceived, represented in perspective, and received as well as it was related to actual architecture. [ABSTRACT FROM AUTHOR]

Recent technological advancements in immersive reality technologies have become a focus area in the virtual heritage (VH) domain. In this regard, this paper attempts to design and implement clouds-based collaborative and multi-modal MR application aiming at enhancing cultural learning in VH. The design and implementation can be adopted by the VH domain for various application themes. The application utilises cloud computing and immersive reality technologies. The use of cloud computing, collaborative, and multi-modal interaction methods is influenced by the following three issues. First, studies show that users’ interaction with immersive reality technologies and virtual environments determines their learning outcome and the overall experience. Second, studies also demonstrate that collaborative and multi-modal interaction methods enable engagement in immersive reality environments. Third, the integration of immersive reality technologies with traditional museums and cultural heritage sites is getting significant attention in the domain. However, a robust approach, development platforms (frameworks) and easily adopted design and implementation approaches, or guidelines are not commonly available to the VH community. This paper, therefore, will attempt to achieve two major goals. First, it attempts to design and implement a novel application that integrates cloud computing, immersive reality technology and VH. Second, it attempts to apply the proposed application to enhance cultural learning. From the perspective of cultural learning and users’ experience, the assumption is that the proposed approach (clouds-based collaborative and multi-modal MR) can enhance cultural learning by (1) establishing a contextual relationship and engagement between users, virtual environments and cultural context in museums and heritage sites, and (2) by enabling collaboration between users.

Digital technologies in the modern era are almost mandatory for the presentation of all types of cultural heritage. Virtual depictions of crafts and traditions offer the users the possibility of time travel, taking them to the past through the use of 3D reconstructions of cultural monuments and sites. However, digital resources alone are not enough to adequately present cultural heritage. Additional information on the historical context in the form of stories, virtual reconstructions, and digitized objects is needed. All of this can be implemented using a digital multimedia presentation technique called digital storytelling. Nowadays, an integral part of many museum exhibitions is interactive digital storytelling. This paper gives an overview of the techniques and discusses different means of facilitating interaction on digital storytelling applications for virtual cultural heritage presentations. We describe the ways in which natural interaction and interaction via eXtended Reality (Virtual and Augmented Reality) applications for cultural heritage are made possible. Users will find the stories told through these applications educational and entertaining at the same time. Through user-experience studies, we measure the user edutainment level and present how users react to implemented interactions. [ABSTRACT FROM AUTHOR]

The dimension of sound plays a central role as a form of cultural representation. Sound is a means of knowledge and experiential involvement, as it is inextricably linked to place and space, mind and body, cultural context and emotion. This contribution aims to explore how sound design follows different paradigms and methods in the various media. Virtual reality, videogame, cinema and documentary have differently codified rules to provide acoustic verisimilitude to the simulated space, to orient or stimulate the user, to suggest contents or evoke events and to emotionally involve the public. These rules follow artistic principles closer to psychoacoustics than to scientific reproduction of sound in the simulated space. Under what conditions, however, is the scientific simulation of an acoustic space preferable to the more common paradigms of psychoacoustics? How could this be created? Immersive and non-immersive virtual reality for cultural heritage is currently the field of experimentation most open to future developments. Some virtual reality and mixed reality applications will be presented, dedicated to archaeological or historical-artistic contexts, where a fundamental relationship between sound and multisensory interaction has been created. [ABSTRACT FROM AUTHOR]

The virtual reality of cities is the current historical period of urban progress and a kind of interconnected co-activity between innovative virtual elements, elements of the city and its urban parts according to the affected relationships of social, financial, cultural, spatial, political and local features. Where contemporary concepts of virtual reality were presented by the philosophical corps without clarifying their role comprehensively in the urban development processes of cities, so the research aimed to determine the roles of the ideas of the virtual world and the virtual city in the work of both specialists and decision makers, and the urban development processes of traditional and historical cities, where the research information methodology compares theoretical architectural and urban models to intersect with the basic concepts related to the virtual city, the research reached multi-level roles in terms of impact and degrees of complexity, which contribute to an innovative reproduction of urban development processes. [ABSTRACT FROM AUTHOR]

Despite the increasing number of three-dimensional (3D) model portals and online repositories catering for digital heritage scholars, students and interested members of the general public, there are very few recent academic publications that offer a critical analysis when reviewing the relative potential of these portals and online repositories. Solid reviews of the features and functions they offer are insufficient; there is also a lack of explanations as to how these assets and their related functionality can further the digital heritage (and virtual heritage) field, and help in the preservation, maintenance, and promotion of real-world 3D heritage sites and assets. What features do they offer? How could their feature list better cater for the needs of the GLAM (galleries, libraries, archives and museums) sector? This article’s priority is to examine the useful features of 8 institutional and 11 commercial repositories designed specifically to host 3D digital models. The available features of their associated 3D viewers, where applicable, are also analysed, connecting recommendations for future-proofing with the need to address current gaps and weaknesses in the scholarly field of 3D digital heritage. Many projects do not address the requirements stipulated by charters, such as access, reusability, and preservation. The lack of preservation strategies and examples highlights the oxymoronic nature of virtual heritage (oxymoronic in the sense that the virtual heritage projects themselves are seldom preserved). To study these concerns, six criteria for gauging the usefulness of the 3D repositories to host 3D digital models and related digital assets are suggested. The authors also provide 13 features that would be useful additions for their 3D viewers. Highlights: • A survey of relevant features from eight institutional and eleven commercial online 3D repositories in the scholarly fieldof 3D digital heritage. • Presents a critical review of their hosting services and 3D model viewer features. • Proposes six features to enhance services of 3D repositories to support the GLAM sector, heritage scholars andheritage communities.

This study aimed to revitalize ancient cities’ history, culture, and social life, along with their physical environments, through computer-aided, three-dimensional (3D) images. This study will become an instrument for visualization in 3D ancient cities whose historical remains are not intact and are perhaps known only through books, maps, pictures, and inscriptions. Following historical investigations and comparative analyses of similar examples, objects or structures subject to change over centuries, partially damaged, or lost were visualized through the production of models that reflect their original historic design. The images obtained were converted to animations of 3d models with motion, sound, light, and related effects. In addition to animations, this study implemented another technique concerning cities: the Ancient Antioch—the modeled space was installed in a game engine to obtain simultaneous images. Despite certain limitations, the study findings, adequately based on scientific evidence, provide rich visual content for practical use in the three domains of presentation, research, and education. The hope is that this socio-historical, scientific, and esthetic study, established to model, visualize, and animate city life from approximately 1800–2000 years ago, will be instrumental to the further development of its mixed methodologies and provide a new synthetic process for an ongoing feedback loop. Perhaps the most important output of this study was the use of almost all of the images obtained in the Hatay Archaeology Museum. After the final stage of preparation, the presentation of Ancient Antioch is planned to be done in 2023 of March and opened to visitors on special platforms with Unity 3D. An actual excavation area’s data can be constantly modeled and remodeled, thus improving the scientific feasibility, quality, and uniqueness of excavation work and the dissemination of scientific results.

Sweden has some of the best-preserved Bronze Age rock art in the world, with more than 20,000 rock art sites. While there is no clear evidence indicating the origin of this tradition, in the World Heritage area of Tanum some of the rock art is enhanced with red colour. However, the practice flattens the more complex time-depth of the engravings and cements faulty interpretations, thus alternative ways for visualising the rock art are being considered. Globally, several Augmented Reality applications have been made for the visualisation of rock art; however, none have yet been developed for the Nordic context, where conditions are affected by seasonal elements. With Tanum, Sweden, as a case study, this paper discusses the challenges in applying Augmented Reality to Nordic Rock Art. [ABSTRACT FROM AUTHOR]

Recent technological advancements in immersive reality technologies have become a focus area in the virtual heritage (VH) domain. In this regard, this paper attempts to design and implement clouds-based collaborative and multi-modal MR application aiming at enhancing cultural learning in VH. The design and implementation can be adopted by the VH domain for various application themes. The application utilises cloud computing and immersive reality technologies. The use of cloud computing, collaborative, and multi-modal interaction methods is influenced by the following three issues. First, studies show that users' interaction with immersive reality technologies and virtual environments determines their learning outcome and the overall experience. Second, studies also demonstrate that collaborative and multi-modal interaction methods enable engagement in immersive reality environments. Third, the integration of immersive reality technologies with traditional museums and cultural heritage sites is getting significant attention in the domain. However, a robust approach, development platforms (frameworks) and easily adopted design and implementation approaches, or guidelines are not commonly available to the VH community. This paper, therefore, will attempt to achieve two major goals. First, it attempts to design and implement a novel application that integrates cloud computing, immersive reality technology and VH. Second, it attempts to apply the proposed application to enhance cultural learning. From the perspective of cultural learning and users' experience, the assumption is that the proposed approach (clouds-based collaborative and multi-modal MR) can enhance cultural learning by (1) establishing a contextual relationship and engagement between users, virtual environments and cultural context in museums and heritage sites, and (2) by enabling collaboration between users. [ABSTRACT FROM AUTHOR]

In recent years, the use of VR games in cultural heritage has been growing. VR Games have increasingly found their way into museums and exhibitions, highlighting the increasing cultural value associated with games and the institutionalization of game culture. In particular, serious VR games have a variety of benefits for educational purposes. There are several studies that deployed VR games to improve visitor experiences in several contexts. However, there are not sufficient studies in the field that examine the benefits and drawbacks of VR gaming. This lack of classification studies is regarded as an obstacle to developing more effective games and proposing guidance on the best way of using them in cultural heritage. This review aims to analyze how VR games are used in cultural heritage settings, to explore the evolution and opportunities of this emerging field, the challenges and tensions these innovations present, and to collectively advance this work to benefit visitor experiences.

As audience-oriented and information-driven organisations, museums are embracing the Internet and interactive technology for developing virtual museums by encouraging the participation of the users in cultural activities. Technology does not exist per se being socially shaped. Museums have the opportunity to promote social innovation by developing technology and opening up to the audience as an active participant in the definition of cultural contents emphasising the interaction and communication between museums and their users. The Internet and interactive technology help museums to drive service innovation by opening up to the participation of the audience in defining cultural heritage contents. As virtual-oriented and technology-driven organisations, museums are becoming social, developing social spaces for innovation, selecting different pathways by managing information and knowledge sharing, developing interactive and virtual technology, building a shared authority on cultural heritage, involving the user as an active participant in co-production of cultural heritage knowledge. [ABSTRACT FROM AUTHOR]

The architecture that the Renaissance artists depicted in their works constitutes a vast reservoir of formal solutions that influenced (and were reciprocally influenced by) built architecture. Generally painted according to a rigorous perspective structure, most painted architecture can be restituted and modelled to become part of the Virtual Heritage that develops and extends its knowledge to a wider range of people and scholars. These procedures are here applied to some of the works of Pietro Perugino and Raffaello, a master and his student, in order to define their specific approach to composition, perspective, and architecture. The application of these procedures produced some primary results—the architecture restitutions in plan and elevation or section—and some secondary results concerning the way painted architecture was conceived, represented in perspective, and received as well as it was related to actual architecture.

The intersection of virtual reality (VR) and cultural heritage, also described as Virtual Heritage (VH), is an example of a disciplinary ‘cross-fertilization’ between arts and technologies (Roussou, 2007: 225). Technological advances in communication systems have accelerated the advent of new aesthetic experiences. Digital technology has created a novel perceptual dimension for the viewers of VH that Erik Champion calls cultural presence (2006). The idea of immersive art goes back to the classical world, and it now reappears in the immersion strategies of today’s virtual art (Grau, 2003: 25). In order to investigate the aesthetic effects of cultural presence for the player in VH, this research takes 神游敦煌 (Shenyou Dunhuang) 2018, a popular VH project from HTC Steam VR platform as a case study. The 敦煌莫高窟 (Dunhuang Mogao Grottoes) were included in the ‘World Cultural Heritage’ list by United Nations Educational, Scientific and Cultural Organization (UNESCO) as representative achievements of Buddhist art in ancient China. This research draws on data elicited through focus group discussion after the group’s members had experienced the VH. The researcher organised a group of participants playing Shenyou Dunhuang to discuss their aesthetic experience. The discussion text was encoded via Nvivo software. The aesthetic experience of the participants is examined and discussed through the frame of three sub-concepts: playfulness, realism and authenticity. In so doing this research discusses how the ambivalence of immersion and distance in art reception influences players’ cultural presence in VH.

In the field of cultural heritage, three-dimensional (3D) reconstruction of monuments is a usual activity for many professionals. The aim in this paper focuses on the new technology educational application combining science, history, and archaeology. Being involved in almost all stages of implementation steps and assessing the level of participation, university students use tools of computer gaming platform and participate in ways of planning the virtual environment which improves their education through e-Learning. The virtual 3D environment is made with different imaging methods (helium-filled balloon, Structure for motion, 3D repository models) and a developmental plan has been designed for use in many future applications. Digital tools were used with 3D reconstructed buildings from the museum archive to Unity 3D for the design. The pilot study of Information Technology work has been employed to introduce cultural heritage and archaeology to university syllabuses. It included students with a questionnaire which has been evaluated accordingly. As a result, the university students were inspired to immerse themselves into the virtual lab, aiming to increasing the level of interaction. The results show a satisfactory learning outcome by an easy to use and real 3D environment, a step forward to fill in needs of contemporary online sustainable learning demands. [ABSTRACT FROM AUTHOR]

We address interpretive challenges at multicultural sites by presenting a digital reconstruction of a fort built in 1816 on Kaua'i Island known as "Pā'ula'ula" or "Hīpō" in Hawaiian texts and as "Fort Elizabeth" in Russian texts. Based on archival documents, maps, photographs, and archaeological research, we create diachronic 3D models to illustrate the cultural complexities behind the site's formation. The results of the study provide more public visibility to this poorly understood National Historic Landmark. The 3D models are intended to foster community-based engagement with academic research by providing representations of the fort and surrounding cultural landscape as it changed over time; they would also assist people in better estimating what would be necessary to design and complete a full-scale restoration of the fort. [ABSTRACT FROM AUTHOR]

Despite the advancement of digital technology in virtual heritage (VH) projects, there is still a paucity of research in methods to support sense of place in architectural virtual heritage environment (VHE). This paper argues that studies on the sensation of place in a virtual environment (VE) could be linked to the ever-expanding presence research domain. The impact of the level of immersion and realism in VE towards evoking the sense of presence could be considered to be one of the most discussed topics in presence research. This paper presents the methods and findings from a qualitative experiment designed to analyse user's real-time feedbacks from three levels of immersive systems. The experiment aims to measure the significance of virtual presence in contributing towards user's sense of place experience in a VHE. Based on the findings, the system that produces a better virtual presence such as HMD may not be suitable for all type of users even if it delivers better learning experience of cultural heritage places. It may, however, only be determined by personal preferences and immersive device factors. [ABSTRACT FROM AUTHOR]