No abstract

New media technologies play an important role in the evolution of our society. Traditional museums and heritage sites have evolved from the 'cabinets of curiosity' that focused mainly on the authority of the voice organising content, to the places that offer interactivity as a means to experience historical and cultural events of the past. They attempt to break down the division between visitors and historical artefacts, employing modern technologies that allow the audience to perceive a range of perspectives of the historical event. In this paper, we discuss virtual reconstruction and interactive storytelling techniques as a research methodology and educational and presentation practices for cultural heritage sites. We present the Narrating the Past project as a case study, in order to illustrate recent changes in the preservation of social history and guided tourist trails that aim to make the visitor's experience more than just an architectural walk through.Keywords: interactive storytelling; virtual reconstructions; heritage sites; social history; accessibility; digital preservation.Reference to this paper should be made as follows: Kuksa, I. and Tuck, D. (2011) ''Breaking the glass': preserving social history in virtual environments', Int. J. Arts and Technology, Vol. 4, No. 4, Biographical notes: Iryna Kuksa is a scholar interested in practice-based research. The focus of her academic work lies in the dialogue among design, education and new media technologies. She explores the role of multimedia within the field of theatre studies, art and cultural heritage research and investigates how novel methodologies, including 3D reconstruction of historical artefacts, can be applied to pedagogical practices. She is interested in designing and developing new visual research and learning strategies, in order to enhance learners' experiences through the medium of ICTs, and in researching user experiences in virtual learning environments, such as Second Life virtual community.Deborah Tuck has a filmmaking background and worked on broadcast productions as a Director and Director of Photography. Currently, she is Preserving social history in virtual environments393 developing audiovisual displays using 360 filming techniques for use in portable display domes. Her current research area involves interactive narrative environments, which explores the potential for virtual technologies as a storytelling medium. In her research, she investigates new possibilities for narrative and new ways of using this form for public display. Areas involved include audiovisual theory, game strategies, visualisation technologies and interface design.

Augmented Reality (AR) represents the future of the digital integrated museum experience. There is considerable scope for providing engaging and interactive experiences when using AR combined with traditional museum practices, particularly relative to interpretive narrative. The new relationship created between the 'real' and 'virtual' object, generates new and engaging experiences and encourage more active visitor participation. AR can simultaneously layer competing accounts of historical events beyond the single voice of 'authority'. This paper discusses the challenges of adapting and developing the first-hand witness accounts for a multi-screen AR experience of the night Nottingham Castle was attacked during the Reform Bill Riots (1831.) In each case we will present examples demonstrating our interdisciplinary design approach and the strategies we implemented for each story. Unlike many AR projects this approach places storytelling at its heart by integrating traditional theatrical and cinematic narrative techniques to create added suspense and engagement. It has opened up possibilities for learning and experiencing the site's history within a new interactive context, whilst simultaneously foregrounding the broader socio-political context around protest and riot. The exhibition will open to the public from May 2014 and the digital augmented environments will be fully integrated within the museum exhibition offering visitors a richer narrative with content generated through AR.

This paper explores how traditional narrative language used in film and theatre can be adapted to create interactivity and a greater sense of presence in the virtual heritage environment. It focuses on the fundamental principles of narrative required to create immersion and presence and investigates methods of embedding intangible social histories into these environments. These issues are explored in a case study of Greens Mill in the 1830's, interweaving the story of the reform bill riots in Nottingham with the life of George Green, mathematician and proprietor of the Mill.

Augmented Reality (AR) represents the future of the digital integrated museum experience. There is considerable scope for providing engaging and interactive experiences when using AR combined with traditional museum practices, particularly relative to interpretive narrative. The new relationship created between the 'real' and 'virtual' object, generates new and engaging experiences and encourage more active visitor participation. AR can simultaneously layer competing accounts of historical events beyond the single voice of 'authority'. This paper discusses the challenges of adapting and developing the first-hand witness accounts for a multi-screen AR experience of the night Nottingham Castle was attacked during the Reform Bill Riots (1831.) In each case we will present examples demonstrating our interdisciplinary design approach and the strategies we implemented for each story. Unlike many AR projects this approach places storytelling at its heart by integrating traditional theatrical and cinematic narrative techniques to create added suspense and engagement. It has opened up possibilities for learning and experiencing the site's history within a new interactive context, whilst simultaneously foregrounding the broader socio-political context around protest and riot. The exhibition will open to the public from May 2014 and the digital augmented environments will be fully integrated within the museum exhibition offering visitors a richer narrative with content generated through AR.