Capturing Australian indigenous perception of virtual landscape

This short paper presents a means of capturing non spatial information (specifically understanding of places) for use in a Virtual Heritage application. This research is part of the Digital Songlines Project which is developing protocols, methodologies and a toolkit to facilitate the collection and sharing of Indigenous cultural heritage knowledge, using virtual reality. Within the context of this project most of the cultural activities relate to celebrating life and to the Australian Aboriginal people, land is the heart of life. Australian Indigenous art, stories, dances, songs and rituals celebrate country as its focus or basis. To the Aboriginal people the term “Country” means a lot more than a place or a nation, rather “Country” is a living entity with a past a present and a future; they talk about it in the same way as they talk about their mother. The landscape is seen to have a spiritual connection in a view seldom understood by non-indigenous persons; this paper introduces an attempt to understand such empathy and relationship and to reproduce it in a virtual environment.

Doing cultural heritage using the torque game engine: supporting indigenous storytelling in a 3D virtual environment

Digital Songlines (DSL) is an Australasian CRC for Interaction Design (ACID) project that is developing protocols, methodologies and toolkits to facilitate the collection, education and sharing of indigenous cultural heritage knowledge. This paper outlines the goals achieved over the last three years in the development of the Digital Songlines game engine (DSE) toolkit that is used for Australian Indigenous storytelling. The project explores the sharing of indigenous Australian Aboriginal storytelling in a sensitive manner using a game engine. The use of the game engine in the field of Cultural Heritage is expanding. They are an important tool for the recording and re-presentation of historically, culturally, and sociologically significant places, infrastructure, and artefacts, as well as the stories that are associated with them. The DSL implementation of a game engine to share storytelling provides an educational interface. Where the DSL implementation of a game engine in a CH application differs from others is in the nature of the game environment itself. It is modelled on the 'country' (the 'place' of their heritage which is so important to the clients' collective identity) and authentic fauna and flora that provides a highly contextualised setting for the stories to be told. This paper provides an overview on the development of the DSL game engine.

Wanderer beyond game worlds

We discuss issues and opportunities for designing experiences with 3D simulations of nature where the landscape and the interactant engage in an equitable dialogue. We consider the way digital representations of the world and design habits tend to detach from corporeal dimensions in experiencing the natural world and perpetuate motifs in games that reflect taming, territorializing or defending ourselves from nature. We reflect on the Digital Songlines project, which translates the schema of indigenous people to construct a natural environment, and the inherent difficulty in cross-culturally representing inter-connectedness. This leads us to discuss insights into the use of natural features by western people in cultural transmission and in their experiences in natural places. We propose McCarthy and Wright's dialogical approach may reconcile conceptions of place and self in design and conclude by considering experiments in which designers digitally reconstruct their own corporeal experience in natural physical landscape.

The little grey cat engine

The little grey cat engine (greyCat) is part of a series of projects which explore software which can enable access to the potentially empowering nature of represented space and game design. GreyCat is the result of research into the culture of the software itself in order to provide participatory environments which enable the telling of ‘small stories’ – stories and experiences which are those of the everyday or those of a cultural perspective other than that prioritised by most world building softwares or game engines. GreyCat offers a simple framework which allows participants to use their own image materials (photographs for the most part) as a basis for spatial exploration of their own places.---------- Truna aka j.turner (2008) The little grey cat engine: telling small stories (Demo), Australasian Computer Human Interaction Conference, OZCHI 2008, December 8th-12th, Cairns, Australia---------- Research Publications: truna aka j.turner & Browning, D. (2009) Designing spatial story telling software, in proceedings OZCHI09, Melbourne---------- Truna aka j.turner, Browning, D. & Champion, E. (2008) Designing for Engaged Experience, In proceedings Australasian Computer Human Interaction Conference, OZCHI 2008, December 8th-12th, Cairns, Australia---------- Truna aka. J.turner & Bidwell, N. (2007) Through the looking glass: game worlds as representations and views from elsewhere, Proceedings of the 4th Australasian conference on Interactive entertainment, Melbourne, Australia---------- Truna aka j.turner, Browning, D & Bidwell, N. (2007) Wanderer beyond game worlds, in proceedings, Hutchinson, A (ed) PerthDAC 2007: The seventh International Digital Arts and Culture Conference: The future of digital media culture, 15-18 September 2007, Perth, Australia, Curtin University of Technology---------- Truna aka j.turner (2006) To explore strange new worlds: experience design in 3 dimensional immersive environments - role and place in a world as object of interaction, In proceedings, Australasian Computer Human Interaction Conference, OZCHI 2006, November 22nd-24th, Sydney, Australia, November 20th – 24th 2006, pp 26- 29---------- Truna aka j.turner (2006) Digital songlines environment (Demonstration), In proceedings 2006 International conference on Game research and development, Perth, Australia---------- Truna aka j.turner (2006) Destination Space: Experiential Spatiality and Stories, Special Session on Experiential Spatiality, In proceedings 2006 International conference on Game research and development, Perth, Australia

Australian Aboriginal virtual heritage

The thesis uses creative practice and Indigenous knowledge frameworks with design methods to explore the ways in which virtual technology can represent Indigenous history and culture.

The Coming of Post-reflexive Society: Commodification and Language in Digital Capitalism

Language is a unique aspect of human communication because it can be used to discuss itself in its own terms. For this reason, human societies potentially have superior capacities of co-ordination, reflexive self-correction, and innovation than other animal, physical or cybernetic systems. However, this analysis also reveals that language is interconnected with the economically and technologically mediated social sphere and hence is vulnerable to abstraction, objectification, reification, and therefore ideology – all of which are antithetical to its reflexive function, whilst paradoxically being a fundamental part of it. In particular, in capitalism, language is increasingly commodified within the social domains created and affected by ubiquitous communication technologies. The advent of the so-called ‘knowledge economy’ implicates exchangeable forms of thought (language) as the fundamental commodities of this emerging system. The historical point at which a ‘knowledge economy’ emerges, then, is the critical point at which thought itself becomes a commodified ‘thing’, and language becomes its “objective” means of exchange. However, the processes by which such commodification and objectification occurs obscures the unique social relations within which these language commodities are produced. The latest economic phase of capitalism – the knowledge economy – and the obfuscating trajectory which accompanies it, we argue, is destroying the reflexive capacity of language particularly through the process of commodification. This can be seen in that the language practices that have emerged in conjunction with digital technologies are increasingly non-reflexive and therefore less capable of self-critical, conscious change.