Content area
Purpose
This paper aims to discuss and propose the potential use of immersive virtual environments (IVEs) for archiving and collecting heritage gameplay activities in digital libraries, which is expected to triangulate further discussions on the said knowledge scopes.
Design/methodology/approach
The key question of this paper is, how we can preserve and revitalize fading heritage game activities in digital libraries? To answer this, the paper is going to understand the applications of IVEs in heritage studies; the use of telepresence experiences in IVEs for activity-based collection; the creation of virtual and telepresence experiences in digital libraries; and a proposed use of IVEs for archiving heritage gameplay activities.
Findings
The applications of IVEs and/or other virtual technologies have certainly been gaining positive feedback about their ability to provide vivid images of artefacts and art pieces; perform a high level of interactivity between the exhibits and visitors; enhance visitors’ sense of immersion that evoke their memories of heritage issues; facilitate visitors’ learning process in libraries; increase enjoyment in digital libraries. As mentioned in the previous section, the activity-based historical collection, for instance, the heritage gameplay activities, can be preserved and archived vividly using IVEs.
Research limitations/implications
This paper is explorative, there is no empirical result for generalization.
Originality/value
This paper aims to provide librarians with valuable insight to apply IVEs for archiving and collecting heritage gameplay activities. Setting up a new type of digital library is affected greatly by the openness of librarians, visitors’ expectations and a whole lot of things that are happening around the technological world and digital culture. This paper addresses the applications of IVEs in heritage studies, the importance of creating virtual and telepresence experiences for library visits as well as proposing the use of IVEs for archiving heritage gameplay activities.
1. Introduction
This paper attempts to discuss and propose the use of immersive virtual environments (IVEs) for archiving and collecting heritage gameplay activities for library collections, which is expected to triangulate further discussions on three knowledge scopes, they are the applications of IVEs and the sense of telepresence for heritage collection; the heritage and historical study for traditional gameplay activities in digital libraries; and conservation and inheritance studies in digital libraries. There is virtually limited prior discussion addressing this missing part of knowledge. The key question of this paper is, how we preserve and revitalize fading heritage game activities in digital libraries for the new generations? To answer this, the paper is going to understand the applications of IVEs in heritage studies; the use of telepresence experiences in IVEs for activity-based collection; the creation of virtual and telepresence experiences in digital libraries; and a proposed use of IVEs for archiving heritage gameplay activities.
To understand and forecast the development of IVEs of digital libraries in the future, it is wise to look beyond the traditional librarians’ perspectives and put us into a new type of modern visitors’ shoes. This is because librarians always try to respond to visitors’ preferences and behaviours. Modern visitors are no longer only trying to understand and learn the historical artefacts and collections, they also want to experience the library activities digitally. When the aestheticism of applying virtual technologies into the field of digital library studies, librarians then began to see visitors with “emotion” looking for sensorial experiences as they visited, where they interact with the collections and archives. In other words, visitors are now looking for a unique experience and not only studying, the collection itself but also bringing hedonistic values and individual subjectivity to the library experience. Librarians must think forward to producing these pleasant library experiences for visitors in the new form of IVEs, for example, the experiences of telepresence and enjoyment. The use of IVEs and other virtual technologies is a new trend that can potentially provide visitors with unique experiences that can be highly personalized and autonomous, anytime and anywhere. Thus, this paper aims to discuss the use of IVEs and telepresence in archiving and collecting heritage gameplay activities and trying to probe the application of IVEs in digital libraries; explore visitors’ experiences in IVEs; and trigger further studies of applying IVEs for digital library studies.
2. Applications of immersive virtual technologies in heritage studies for digital libraries
The rapid development of digital database design and electronic systems has reshaped the forms of information repositories and architecture (Saiful Bahry et al., 2022; Marutha, 2021). The use of technological innovations in library resources and services has become essential in many aspects (Kumar and Gupta, 2022). It is no doubt critical in library studies. In heritage research and archiving, the integration of historical resources and digital technologies is an ideal way to conserve and revitalize cultural heritage (Zhang and Gupta, 2022). The application of IVEs and other interactive technologies in research, archives and collections has become popular and useful for any kind of heritage studies and library activities currently. For instance, the Immersive Cultural Heritage Project (Fan et al., 2022), the Cloth Simulation Project for Chinese traditional costumes (Jiang, et al., 2019) and the Virtual Reconstruction Project for a historical district in Shanghai (Parrinello, 2020). Khries (2021) uses photogrammetry and three-dimensional (3D) scanners for archaeological objects. One of the interesting and influential digital projects led by Lo and his colleagues (2019) applies 3D interactive media technologies to visualize and revitalize traditional Chinese martial arts to enhance visitors’ overall experiences at the heritage exhibition. The findings of this digital martial art project also proved the effectiveness of using engagement-creating technology (e.g., multimedia and interactive technologies) in facilitating visitors’ personalized experience (Lo et al., 2019). Similarly, current research (Li and Kumar, 2022; Zhang and Gupta, 2022; Deng, et al., 2021) empirically proved the use of IVEs technology in the field of cultural heritage inheritance and libraries is effective and promising.
The concept of digital collection and conservation is one of the fastest-developing areas in heritage study (Zhang and Gupta, 2022). Indeed, there are many projects (Liu, et al., 2018; Wang, et al., 2018; Li, 2011) that have been introduced to digitally preserve the tangible cultural architectures and artefacts for archive and collection purposes. Interestingly, Yang et al. (2019) have applied a method of an interactive virtual interactive display for agricultural tools. Likewise, Issini (2012) applied a proposed visualization method to revitalize the Yaquing section of the Chinese Great Wall. Despite the aforesaid research projects mainly focusing on preserving Chinese tangible heritage. This paper argues the possibility of revitalizing and archiving the intangible beauty of traditional gameplay activities in IVEs. As some of the researchers (laPensee, 2019; Nylund et al., 2019) in heritage study have indicated, gameplay conservation and archiving are laid on the centrality the heritage playable experiences and it is no doubt nestled in the foundation culture that needs to preserve and collect. However, this type of project and practice in the digital library study have hitherto not yet been fully explored internationally. Therefore, this paper aims to discuss the possibility and potential value of applying IVEs for archiving and preserving heritage gameplay activities in digital library practices to trigger further investigations on intangible gameplay activities and experiences in digital heritage study.
3. Do telepresence experiences in immersive virtual environments help in heritage study and preservation?
In 1956, the first mechanical virtual display system “Sensorama” was developed by filmmaker Morton Heilig. This is the first attempt in human history to experience virtual reality as well as the sense of telepresence. In the following years, the term “Virtual Reality” was coined by Sutherland in 1963. Meanwhile, the prototype of a head-mounted display had been created. In this enlightening era of virtual technology, no matter what concepts, hardware and software were beginning to develop. Greenbaum (1992) describes earlier that virtual reality is an alternate world interacting with human movements and computer-generated images. It is a uniquely human experience between the users and the IVEs (Riva, 1999). In other words, it is a computer-simulated telepresence experience (Steuer, 1992) that enriches users’ multi-dimensional human experience (Seidel et al., 1997) and a 3D graphical environment (Fitzgerald and Riva, 2001). This computer-mediated environment is exclusively designed to make the users think “if they were being there” (Li et al., 2001). In this case, the concept of presence is crucial for any design of IVEs to be effective (Slater, 1999). Kim and Biocca (1997) highlight the sense of presence (telepresence) could make users more confident about the information presented by the IVEs through a better level of immersion. Regarding the creation of users’ sense of telepresence for heritage study, in particular to preserving heritage gameplay activities, it brings human interaction with virtual artefacts and collections to a new level of digital libraries. Moreover, it is essential to address that, to enhance the visitors’ sense of telepresence, the components such as interactivity, sensory information and vivid nature of virtual visualization also play a critical role in IVEs. Researchers (Klein, 2003; Fiore et al., 2005; Nunez and Blake, 2006; Yoon et al., 2008) empirically proved these components are promising and effective from their research in different domains. The integration of these components is not only enhancing visitors’ telepresence experience in libraries but also possibly evoking their “memories and feeling” (Yuille and Catchpole, 1977). The recall of memories and feelings is indeed one of the key purposes of a library visit.
4. Creating virtual and telepresence experiences in digital libraries
One of the key issues in creating a telepresence experience for heritage gameplay activities is how to provide visitors with a hedonic virtual experience. It would be a complicated relationship between the visitors and the hyper-realistic stimulations. It is therefore essential for librarians to understand the correlations between these two factors to improve the experiential design in IVEs for heritage gameplay activities. Researchers from the business IVEs research (Holbrook and Hirschman, 1982; Schlosser, 2006) have highlighted the users’ hedonic experiences (fantasy, feelings and fun), in particular to the high level of interaction with virtual objects and environment (Schlosser, 2003) are promising in enhancing the product recognition and purchase intention. In this case, we believe that the same hedonic experiences in IVEs can enrich visitors’ recognition and appreciation of the heritage artefacts as well as the historical activities.
The use of image interactivity technology (IIT), which is a kind of IVE for exploring experiential factors in business projects, could be applied to heritage and library studies. In business practices, the use of IIT can envisage products, demonstrate their characteristics and create an interaction between users and the product experiences. Fiore and Jin (2003) state that earlier the use of IIT provides customers with an active process of “trying” the product virtually. The interaction between users and the products is a direct experience which enhances the sense of telepresence experience (Schuemie and Mast, 1999; Daugherty et al., 2001). Back to the heritage study of gameplay activities, the purpose of archiving these historical activities is neither to display nor demonstrate them, but rather let visitors experience them virtually and re-calling their memories. It is important to note that these memories are imagined by the user instead of perceived in the IVEs (Childers and Houston, 1984). The use of text and static pictures for collections is insufficient for delivering rich information, particularly for heritage and historical gameplay activities.
One of the critical challenges in establishing IVEs for library collections is that different visitors have different needs and concerns while touring around the IVEs. Theoretically, the population of visitors can be divided into two main categories based on their intentions, casual visitors and serious visitors. Casual visitors are those who will tour the library non-purposively. They enjoy the library experience itself and may not have a fixed checklist of collections or artefacts. On the contrary, serious visitors usually have a fixed checklist of exhibits and try to study them seriously. Therefore, casual visitors are different from serious visitors in terms of their preferences for experiential attributes in IVEs as well as the virtual activities they are playing. This constitutes a challenge to the design and development of IVEs for digital libraries. Librarians must strike a balance between these two types of visitors.
5. Proposed use of immersive virtual environments for archiving heritage gameplay activities
Immersive virtual technology has been reshaping the way that librarians interact with visitors. Digital archives, such as the interactive virtual tour of The British Museum (https://britishmuseum.withgoogle.com/), the 360-degree virtual tour of the National Gallery of Victoria Melbourne (www.ngv.vic.gov.au/) and the virtual tour of The Vatican Museum (www.museivaticani.va/). An independent company called “Vorticart” (https://partners.vortic.art/) even provides individual artists with high-quality 3D exhibitions virtual space across Web, mobile and virtual reality platforms. The above museums with digital archives in IVEs facilitate the visitors’ entire touring process and create a unique personal experience. However, the successful launching of any IVEs in heritage study should consider the complicated relationship between the study of visitors’ experiences and the effective use of virtual technologies. The power of immersive technology, especially in archiving historical and heritage activities, could provide visitors with a one-to-one personal experience. This sense of personal experience is fundamentally creating a high level of telepresence and hedonic visiting experiences.
The above attempts are mainly emphasizing archiving and exhibiting traditional “still” art pieces, namely, paintings, sculptures and even installations. Activity-based historical collections, such as rituals and gameplay activities, are normally displayed in the form of video. Visitors are only watching the movies trying to understand the procedure and process of that event but are not able to “experience” it. The application of video displays for heritage game activities is even worse in any library setting. The nature of game activities is “play”, visitors experience and feel that heritage game through the gameplay process. Moreover, the new generations have become tech-obsessed with digital gaming. Many of the childhood games are fading out with the older generation passing. For instance, Tag Game (It is a playground game where one or more “it” players chase and physically tag other players, removing them from play), Double Dutch (It is a game where two long jump ropes turn in opposite directions are jumped by one or more players jumping simultaneously) and Hopscotch (It is a playground game where players toss an object into a pattern of numbered shapes on the ground and then hop through the spaces to retrieve the object). Traditional outdoor games like Tag require large spaces and many participants, which can be difficult in crowded urban areas with social isolation. However, the new generation may be able to overcome these barriers by playing such games in virtual environments, where digital platforms eliminate limitations on time, space and number of players. Nonetheless, a gameplay activity is one of the essential components of the local culture and heritage. The childhood games, for instance, the peaceful warrior, the paper fortune teller, the hamburger, the cat’s cradle and the shoot, are fading out and eventually will disappear in the culture scope unfortunately. Although we still occasionally “hear” these games in our precursors’ conversations, and see those artefacts from historical libraries, the actual game experiences and the intangible fun of play would not be able to revitalize.
Gameplay activities are indeed a part of culture and heritage, therefore, from the academic perspective, there is current research studying the historical folk games, for instance, studying the traditional serious games to find out their origins (Alvarez, Jessel and Rampnoux, 2011), and how the traditional Chinese games could cultivate the new generations (Lee, 2021). Likewise, Yuechuan and Kaizuan (2021) investigate and analyse the traditional Chinese games in particular the “flight” cultural elements within them. Although this academic research provides the new generations with “what” and “how” the heritage games are, the experience of gameplay is not replaceable. It is important to note that these aforesaid heritage games are “luckily” being archived and studied by some written and video formats, there are many heritage games that are missing and being forgotten. In this case, the use of IVEs can collect and archive these missing memories of heritage gameplay activities. Thus, this paper urges the librarians to not only systematically study and analyse those fading games but also preserve and revitalize them for the new generations in IVEs.
6. Conclusion
This paper aims to provide librarians with valuable insight to apply IVEs for archiving and collecting heritage gameplay activities. Setting up a new type of digital libraries are affected greatly by the openness of librarians, visitors’ expectations and a whole lot of things that are happening around the technological world and digital culture. Librarians have to strive constantly to provide better and richer library experiences for visitors to succeed in this competitive and fast-moving visitor’s expectation. In this paper, I have addressed the applications of IVEs in heritage studies, the importance of creating virtual and telepresence experiences in digital libraries as well as proposing the use of IVEs for archiving heritage gameplay activities. The applications of IVEs and/or other virtual technologies have certainly been gaining positive feedback about their ability to provide vivid images of artefacts and art pieces; perform a high level of interactivity between the exhibits and visitors; enhance visitors’ sense of immersion that evoke their memories of heritage issues; facilitate visitors’ learning process in libraries; increase enjoyment in digital libraries. As mentioned in the previous section, the activity-based historical collection, for instance, the heritage gameplay activities, can be preserved and archived vividly using IVEs.
Nonetheless, the use of IVEs in archiving heritage gameplay activities leads to a long-term impact on the future development of libraries. The impact can be expected on three different levels, they are the long-term impact to the individual visitor – the preservation and revitalization of heritage games will be worked as a hub/bridge among visitors from diverse generations. The elderly can experience the fading game virtually in their childhoods, whereas the new generations are given a chance to understand and experience the heritage games. It is indeed a form of conservation and inheritance of the cultural activities; the long-term impact on academic activities – this paper proposes the use of IVEs in heritage and conservation studies for libraries. The establishment of IVEs for heritage collection can create and share new knowledge in the said academic domains, for instance, the heritage studies in IVE and the revitalization of heritage games can provide academics and professionals with an authentic example of how to digitize cultural activities. It aims to indeed trigger further academic discussions and studies in related areas in the long run. The impact concerns significant advances in understanding, methods, theory and application between heritage study and the use of IVE; and the long-term impact on society and community – the establishment of these IVEs is expected to trigger public engagement and awareness of the fading heritage gameplay activities. The new generations are not only aware of these fading games but also given a chance to experience this heritage gameplay. These experiences are expected to bring behavioural change to society and the community.
Nevertheless, predominant unknowns still exist in the actual development and establishment of IVEs in collecting and archiving heritage gameplay activities. There is still much to be learned about how such an immersive environment will affect visitors’ behaviour, for instance in enhancing visitors’ experiences of telepresence and enjoyment. With modern visitors increasingly emphasizing the importance of experiential factors in their daily lives, there is no doubt that the immersive virtual experience will continue to be the trend in future digital library settings. Therefore, I suggest that further studies should be conducted to explore the questions that are still unanswered and to identify how to make the best use of this potentially powerful environment.
Ethical statements:
I, the author, consciously assure that the manuscript “The Potential Use of Immersive Virtual Environments for Archiving and Collecting Heritage Gameplay Activities in Digital Libraries” fulfilled the Committee on Publication Ethics and the Research and Publishing Ethics Guidelines of Authors from the Emerald Publishing.
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