Abstract
Abstract. The project “The Great Auto de Fe in Santiago de los Caballeros” consisted of an interactive virtual recreation of this historical event that occurred on March 11, 1554 in the city today known as Antigua, Guatemala. A binational research team from Mexico and the U.S. made up of historians, architects and animation engineers, in the space of five weeks, created the historical settings, characters and interactivity necessary to offer the public this immersive experience. The project was presented within the framework of an international exhibition "The images of the Maya gods in the 16th century: The meeting of two worlds,” located at the Centro de Formación para la Cooperación Española in Antigua, the site of a former 17th century Jesuit College. This article presents the details of the workflow used, the social and cultural implications observed, as well as the results of the satisfaction surveys applied to approximately 80% of the users who had access to this experience.
Highlights
Introduction1.1 Concepts Still Under ReviewThe state of art that dominates the field of virtual applications is extremely fluid these days, even more so in the case of such applications in relation to the preservation of Cultural Heritage
The state of art that dominates the field of virtual applications is extremely fluid these days, even more so in the case of such applications in relation to the preservation of Cultural Heritage
Given the myriad of conceptual considerations necessary regarding the historical record / recreation models, we proposed a simplification - derivation: the use of Syntagma Models which leads to Ontological, or rather Discursive Models to generate a Semantic reaction in a certain group of users, who will validate the relevance of the models through their reactions in situ to the model with their subsequent feedback being essential for closing the cycle
Summary
1.1 Concepts Still Under ReviewThe state of art that dominates the field of virtual applications is extremely fluid these days, even more so in the case of such applications in relation to the preservation of Cultural Heritage. It would be limiting to consider that digital media are just "one more tool" or a complementary element, when they have the ability to comprise and configure the entire museum discourse. It we are talking about a theoretical corpus still in formation. From previous experiences we wish to postulate that the use of virtual worlds should be, first of all, an educational strategy. Documents such as the London Charter (2009, 5) establish that project development communities in these experiences can be academic, educational, curatorial or commercial; the aspect of the communication of the values studied should be evident throughout the project. Ergo, improving the perception of a cultural object can directly lead to empathy for it
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