This was a random and sudden interjection from a conference attendee as I was explaining to a small group about our upcoming presentation on digital interactive media as pedagogical and academic research tools. (Coincidentally, I also was the first time I felt compelled to stab someone in the face in public too. Who does that and walks away? hmmmmm But I digress...)
The truth of the matter is that "why" isn't necessarily obvious for those who only have passive experience with interactive digital historical reconstructions. Afterall, what is the point when we already have thousands of images of nearly every artwork imaginable on the internet? If that isn't good enough, why not just visit a museum or a historic site in person? Or just read a few books about it? Does virtual simulation have anything to offer that more traditional methods do not?
Obviously, I wouldn't be talking about this (or delivering a conference presentation on the subject) if I felt otherwise. What it really comes down to is this medium's potential to deliver interactive context. Take a moment to watch this short HD clip from the video game Assassin's Creed II, which was shown at our presentation:
Looking beyond its video game trappings and some historical detail inaccuracies, what do you see? Basillica di San Marco has rarely ever looked so stunning, thanks in part to some liberties taken by the programmers on the lighting. What is more important however is how the intricate details of the church is presented. Not as flat images, but perceivable 3D objects. Even footsteps of the character reflect the marble flooring and large spaces of the church adding a sound element to this representation. The paintings and mosaics are placed how they would have been in 15th century Venice and even the famous Pala di Ora has its distinctive metallic sheen with all its fine details intact. The art historical context such a simulation provides beings to make sense when considering how all these works of art come together within a shared space. (And without the tourists!) But is that really all the digital interactive medium has to offer? A private virtual museum space, more or less?
I would argue that it is the interactivity within these spaces that truly set this medium apart from traditional recording methods. The interactive space, where art and history begin to meld together, goes beyond just placing a person within a virtual reconstruction. It allows them to exist within the reality it presents in order to gain a stronger insight and perceive deeper subtexts that just aren't possible in more traditional mediums. Consider this next video of the indie video game September 12th, taking moment to read the instructions presented at the beginning:
This "serious game" illustrates a key difference between a static reconstruction (which one could argue the San Marco video represented) and a truly interactive one. The player's actions affect the virtual world directly and effectively highlights the realities of civilian casualties in missile warfare. You aren't just reading about it or looking at videos of the aftermath, you are an active participant. While the visuals of this virtual reconstruction are merely a shallow representation of a contemporary middle eastern city, the interaction allows it to transcend its inaccuracies in order to drive home its ethical point. The repercussions of any action quickly becomes clear. Now it must be said that September 12th is definitely intended to be an art piece with a specific agenda in mind, though I suppose one could make that argument for any historical account. However, it does provide insight into how interactive elements can deepen the experience and provide an understanding that goes beyond the medium itself.
To wrap this up, lets return to Renaissance Italy once more but in a different setting:
While this video isn't the best in demonstrating the interactive elements, it does demonstrate the potential of a "living" virtual environment. The virtual residents react to your behavior as they might have during that period of time. For instance, if I would run into a merchant carrying some goods, he would drop his crate and curse at me in Italian. If the patrolling cabinari witness the scene, they would come over and violent push me away while chastising me for my behavior. If I continue to act belligerent or draw my weapon, they would then attack me forcefully or give chase if I should flee. Soon my face would start to show on wanted posters after repeat violations. This a simple demonstration that offers numerous levels of interpretation. The more elements added, the deeper the experience and potential to develop a new understanding of a place that no longer exists. Giving a player room to experiment within a historical context provides the potential for a deeper understanding of that time and place by allowing them to push at the edges and see what comes loose through their virtual actions. It is not hard to imagine from there that a sophisticated and accurate enough reconstruction could yield academic revelations that might have remained elusive otherwise. As technology evolves to create even more detailed "living" virtual worlds, we will only find ourselves deeper in that rabbit hole. In only a few short years, the Assassin's Creed games already include the ability to manage merchant economies, represent virtual weather patterns, and even include observational anthropological activities what allow a player to better understand what they are seeing. (i.e. watching a farmer go through his daily activities is a side task in Assassin's Creed III.) It would be exciting to see what a massive collaborative effort by the best historians and programmers in the world could yield in a truly academically-driven interactive virtual reconstruction.
Ultimately, this is just the tip of the iceberg, but the possibilities are very real. And while this might only be a short answer as to "why" interactive digital reconstructions are significant as pedagogical and academic research tools, it is clear to me that we are only beginning to understand this medium's true potential as such.
To wrap this up, lets return to Renaissance Italy once more but in a different setting:
While this video isn't the best in demonstrating the interactive elements, it does demonstrate the potential of a "living" virtual environment. The virtual residents react to your behavior as they might have during that period of time. For instance, if I would run into a merchant carrying some goods, he would drop his crate and curse at me in Italian. If the patrolling cabinari witness the scene, they would come over and violent push me away while chastising me for my behavior. If I continue to act belligerent or draw my weapon, they would then attack me forcefully or give chase if I should flee. Soon my face would start to show on wanted posters after repeat violations. This a simple demonstration that offers numerous levels of interpretation. The more elements added, the deeper the experience and potential to develop a new understanding of a place that no longer exists. Giving a player room to experiment within a historical context provides the potential for a deeper understanding of that time and place by allowing them to push at the edges and see what comes loose through their virtual actions. It is not hard to imagine from there that a sophisticated and accurate enough reconstruction could yield academic revelations that might have remained elusive otherwise. As technology evolves to create even more detailed "living" virtual worlds, we will only find ourselves deeper in that rabbit hole. In only a few short years, the Assassin's Creed games already include the ability to manage merchant economies, represent virtual weather patterns, and even include observational anthropological activities what allow a player to better understand what they are seeing. (i.e. watching a farmer go through his daily activities is a side task in Assassin's Creed III.) It would be exciting to see what a massive collaborative effort by the best historians and programmers in the world could yield in a truly academically-driven interactive virtual reconstruction.
Ultimately, this is just the tip of the iceberg, but the possibilities are very real. And while this might only be a short answer as to "why" interactive digital reconstructions are significant as pedagogical and academic research tools, it is clear to me that we are only beginning to understand this medium's true potential as such.
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