This paper introduces the Laconia Acropolis Virtual Archaeology (LAVA) project, a cooperative exploratory learning environment that addresses the need for students to engage with archaeological excavation scenarios. By leveraging the immersive nature of game technologies and 3D MultiUser Virtual Environments (MUVEs), LAVA facilitates the adoption of exploratory learning practices in environments which have previously been inaccessible due to barriers of space, time or cost (Collis 2001; Aitchison 2004; Colley 2004). In this paper we present our experiences and reflections during the development of a virtual excavation based on a Byzantine basilica excavated by the British School of Athens during 2000-1 (Sweetman 2000-2001; Sweetman and Katsara 2002). We consider the benefits of allowing students to collaboratively manage and participate in a virtual excavation of the basilica and highlight how real-world findings can be used to provide an authentic virtual excavation experience. An infrastructure that supports a group-based exploratory approach is presented, which integrates 3D technologies into an existing learning management system to enable location-independent, self-paced access. 166 Exploring the Second Life of a Byzantine Basilica

REport on the activities of the EU LAC Museums project.

Developments in digital infrastructures and expanding digital literacies lower barriers for museums and visitor centres to provide new interactive experiences with their collections and heritage. With virtual reality more accessible, heritage institutions are eager to find out how this technology can create new methods in interpretation, learning and visualisation. This paper reviews a virtual reality framework implemented into exhibits in three cultural heritage centres. By taking advantage of existing visitor digital literacies, the exhibits provided accessible immersive exploratory experiences for inter-generational audiences. The digital framework developed is a template for virtual reality content interaction that is both intuitive and powerful. The exhibits include digital reconstructions of physical scenes using game engines for a convincing visual experience. We contextualise the logic behind a virtual reality setup for the separate institutions, how they assisted with the narrative as well as if an immersive digital environment provided a more profound response in users. Our aim is to communicate approaches, methodologies and content used to overcome the challenge of presenting a period in history to a modern audience, while using emergent technology to build connections and disseminate knowledge that is memorable and profound.

This paper discusses how a digital reconstruction of the Scottish capital of Edinburgh around the year 1544 was created and communicated to the public. It explores the development and reception of the Virtual Time Binoculars platform – a system for delivering virtual reality heritage apps suitable for use on most smartphones. The Virtual Time Binoculars system is placed in the context of earlier research into mobile heritage experiences, including Situated Simulations (Liestøl [3]) and the Mirrorshades Project (Davies et al. [4]). The eventual virtual reality app is compared with other means of viewing the historic reconstruction, including online videos and an interactive museum and educational exhibit. It outlines the historical and technical challenges of modelling Edinburgh’s sixteenth-century cityscape, and of distributing the eventual reconstruction in an immersive fashion that works safely and effectively on smartphones on the streets of the modern city. Finally, it considers the implications of this project for future developments in mobile exploration of historic scenes.

Museums publicly display collections in a physical space to relay narratives and concepts to their audiences. Progressive technologies in an exhibition can bring in varying demographics and gather higher footfall for a museum as well as present digital heritage interpretation in an innovative manner. A mixed media exhibition can facilitate subjects with limited physical resources or difficult to display pieces as well as the visual landscape the objects were found within. A combination of Virtual Reality headsets, 3D digitized objects, digitally reconstructed archaeological sites alongside traditional object displays as methods of interpretation substantiate research in techniques and usability as well as challenges of recoup cost and digital literacies. This paper investigates the methodology, technology and evaluation of the mixed media exhibition Picts & Pixels presented by Culture Perth and Kinross and the Open Virtual Worlds research team at the University of St Andrews at the Perth Museum and Art Gallery in summer 2017.