Abstract:This article examines the question of authenticity in relation to 3D visualisation of historic objects and monuments. Much of the literature locates their authenticity in the accuracy of the data and/or the realism of the resulting models. Yet critics argue that 3D visualisations undermine the experience of authenticity, disrupting people's access to the materiality, biography and aura of their historic counterparts. The ACCORD project takes questions of authenticity and 3D visualisation into a new arena -that of community heritage practice -and uses rapid ethnographic methods to examine whether and how such visualisations acquire authenticity. The results demonstrate that subtle forms of migration and borrowing occur between the original and the digital, creating new forms of authenticity associated with the digital object. Likewise, the creation of digital models mediates the authenticity and status of their original counterparts through the networks of relations in which they are embedded. The current pre-occupation with the binary question of whether 3D digital models are authentic or not obscures the wider work that such objects do in respect to the cultural politics of ownership, attachment, place-making and regeneration. The article both advances theoretical debates and has important implications for heritage visualisation practice.

In this paper, we discuss how community co-production of heritage records facilitates the production and negotiation of new forms of value and significance. We draw on case studies from the ACCORD project, which used 3D digital technologies for community engagement through co-creation, to explore how a site's significance can be affected and challenged through community recording. Whilst multiple modes of recording operate in this way, digital 3D recording, long held as the sole domain of the technical expert, is often deployed by heritage professionals as a means of enhancing authorised historic and scientific values through the sophisticated and precise recording of a site's physical structure. Here we argue that these recording techniques can also offer a means of exploring and challenging existing authorised regimes of significance and insignificance, giving voice to alternative and richer perspectives through the recording process itself, as much as through the resultant record. This challenges orthodox thinking about both the primary purpose and effects of digital recording and opens up new directions for their use in heritage practice.

The notion of counter archaeology is echoed by the opposing faces of the volcanic plug of Dumbarton Rock, Scotland. On the one side is the 'official' heritage of Dumbarton Castle, with its upstanding 17 th century military remains and underlying occupation evidence dating back to at least the 8 th century AD. On the other side lies a landscape of climbing, bouldering and post-industrial abandonment. This paper develops counter archaeology through the climbing traditions and boulder problems at Dumbarton Rock and surfaces marginalised forms of heritage. Climbers and archaeologists have co-authored the paper as part of a collaborative project, which challenges the binary trope of researcher and researched and provides a model for a collaborative, co-designed and co-produced counter archaeology.

Abstract. Pedagogical opportunities offered by 3D immersive environments are not restricted to subject-based knowledge but also include non-disciplinary and cross-curricular key skills. This pilot study introduced a large 3D scene of a non-extant architectural exhibition into teaching and learning activities at three UK schools. From observation and qualitative data capture, a comparative case study identified a number of pedagogical opportunities and challenges. Despite diverse teacher and student approaches, a number of common factors were identified including constructionist teaching methods and the suitability of 3D environments for developing cross-curricular key skills and capabilities. In relation to the literature, this paper analyses how subject-aligned use of the 3D model met with differing levels of success, identifies four key skills that emerged from student use of the model across all three schools, and considers how challenges might be translated into further learning opportunities.Keywords: Pedagogy, 3D visualization, Cross-curricular skills, Game-based learning, Collaboration, Creativity, Self-directed learning IntroductionWhilst there is a growing body of research that focusses on pedagogical opportunities of 3D environments for the enhancement of particular, curriculum-based learning outcomes, few empirical studies consider their role in developing key crossdisciplinary skills and attributes such as collaboration, creativity, leadership, and emotional maturity. These capabilities are recognized across national curricula as intrinsic to the development of successful learners. Through a comparative case study of the use of a 3D environment in teaching activities in three schools, this paper investigates how 3D environments within the classroom can provide opportunities for developing key cross-disciplinary capabilities.

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