1. “Examine the implications of omitting or including
avatars or performers in visualisations, and explore
the challenges and implications for both members of
the project team, and users of the finished project
that incorporating human figures has on the overall
impact and legitimacy of the project. “

2.  A Three-dimensional Space
 Interaction: The user must be able to interact with the virtual
environment in a meaningful way
 (Sensory) Presence
 A certain amount of Autonomy:
 (Thematic) Presence
 Source (Jeffrey Jacobson University of Pitsburg 2008)

4. The Body and Mask in
Ancient Theatre Space Virtual Pompeii Project

5.  Other Constructivist Activities: With the right software support, students
could use virtual Pompeii as a virtual social space, where students could log-in
from remote locations, meet each other as avatars, and interact with each
other, educators and/or autonomous agents. Something similar has already
been done in the area of history/architecture (Raalte, 2003)(Santos, 2002),
(Jacobson&Vadnal from the project team)
 Our original rationale for the Theatron project was that the limitation of the
existing Theatron resources was that they were unpopulated. Whenever they
were shown to anyone, the response was that something was lacking. This
element was the human body; even the sense of the viewer's own body was
absent. (Prof Richard Beacham 2009 Theatron final report)

6.  This project is run by Shelley Hales (SH) and Nic Earle (NE) of the University
of Bristol. Its main aim has been to meet a need to make accessible to the
public a collection of the material displayed in and produced in response to the
Pompeian Court, one of the exhibits of the Crystal Palace. The new Crystal
Palace was rebuilt in Sydenham, South London, in 1854 as a ‘museum to
receive, instruct, amuse and interest’ which featured reconstructions of
buildings from past civilisations.
 Within the Model, visitors can observe and talk to robot avatars which
assume Pompeian and Victorian characters and also give information
about the Model and its Collection.

9.  In the hands of a musician, an extended virtual world becomes an
extension of the performer, the instrument, the music, and the
performance itself. (Mary Pietrowicz, Robert E. McGrath, Ben Smith
Guy Garnett UI)
 Virtual worlds, such as Second Life, are already used for “virtual
concerts” and other performances. The artists and audience are
represented by avatars in a scene, and the music and words are
multicast to the audience.
 The e use of immersive 3D environment, instead of plain text, is
expected to provide more vivid information which is also easier to
understand, and to adapt stepwise explanations on the integration of
proposed tools and technology into existing teaching practices. Inquiry
and project-based learning activities use a graphical 3D application
that builds on the students’ curiosity and motivates students to reflect
on what at they are learning.

10.  In order for performers in both Miami and Gainesville
to be joined together in this shared virtual
environment, the Microsoft Kinect was adapted and
combined with a well-known gaming engine, the
Unreal Development Kit, UDK. This allowed
performers to inhabit avatars of famous inventors or
innovators from different periods of human history.
The dancers then provided their movements to tell
their story.

12. how does
technology
transform process
drama into the
virtual world? As
technology becomes
better and more
accessible, are we
going to see a
different kind of
process drama and
how would that
impact our learning,
critical thinking ,
and creative
process?
And Finally….