Virtual Reality Innovation Impact

In many museums, what you get to see is just the tip of the iceberg - at any given time the majority of their exhibits might be languishing in storage. This can be for many reasons, from the conservation needs of delicate items to simple space issues meaning that only a minority of items can be exhibited at any time. Although most museums do their best to circulate items in and out of exhibitions and storage, it still seems a waste than any given visit will only expose visitors to the tip of the iceberg. So being able to scan and share ALL of these exhibits through virtual and aginented reality seems a great solution. Here VictoryXR demonstrate their system for doing just that - either remotely (in virtual reality) or on-site (in augmented reality) patrons can call up and even interact with accurately scanned 3D models of valuable exhibits that they may not otherwise have been able to see at the time (or, with particularly delicate items, ever) The next steps might be to contextualise these items by placing them in realistic recreations of the places they were found, came from or were historically used. (see SITE Network's work on this in the comments below) VictoryXR's approach is being adopted by museums all over the world - just one example being University of Glasgow's Museums in the Metaverse programme, and there are many more... How do you think this approach could be developed to aid in accessibility to our cultural heritage?

𝗜𝘀 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗺𝗺𝗲𝘁𝗿𝘆 𝗗𝗲𝗮𝗱? Watch a trailer to my latest deep-dive conversation, with Tomas Barnas CEO of Overhead4D and co-founder of 3DISE conference We explore how 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗺𝗺𝗲𝘁𝗿𝘆, 𝟯𝗗 𝗚𝗮𝘂𝘀𝘀𝗶𝗮𝗻 𝘀𝗽𝗹𝗮𝘁𝘁𝗶𝗻𝗴, 𝗮𝗻𝗱 𝗹𝗮𝘀𝗲𝗿 𝘀𝗰𝗮𝗻𝗻𝗶𝗻𝗴 can be fused to create 𝘂𝗻𝗯𝗲𝗹𝗶𝗲𝘃𝗮𝗯𝗹𝘆 𝗿𝗲𝗮𝗹𝗶𝘀𝘁𝗶𝗰 𝗶𝗺𝗺𝗲𝗿𝘀𝗶𝘃𝗲 𝗲𝗻𝘃𝗶𝗿𝗼𝗻𝗺𝗲𝗻𝘁𝘀. A full-length interview with photogrammetry expert 𝗧𝗼𝗺𝗮𝘀, known for digitizing entire cities, redesigning the Volkswagen logo (!), and leading the groundbreaking 𝗩𝗥 𝗿𝗲𝗰𝗼𝗻𝘀𝘁𝗿𝘂𝗰𝘁𝗶𝗼𝗻 𝗼𝗳 𝗠𝗮𝗰𝗵𝘂 𝗣𝗶𝗰𝗰𝗵𝘂 - one of the most ambitious immersive cultural heritage projects in the world. 🌄 From 100,000+ image scans to Unreal Engine pipelines, we cover: ✅ Laser scanning + photogrammetry + Gaussian splats ✅ Visual optimization in Unreal (Nanite, Lumen, VR workflows) ✅ Behind the scenes of the VR Machu Picchu experience (100+ simultaneous headsets!) ✅ Real-world advice for scaling, storytelling & scene lighting 🛠️ If you're working in 𝗮𝗿𝗰𝗵𝗶𝘁𝗲𝗰𝘁𝘂𝗿𝗲, 𝗩𝗙𝗫, 𝗩𝗥/𝗔𝗥, 𝗰𝘂𝗹𝘁𝘂𝗿𝗮𝗹 𝗵𝗲𝗿𝗶𝘁𝗮𝗴𝗲, 𝗼𝗿 𝟯𝗗 𝘃𝗶𝘀𝘂𝗮𝗹𝗶𝘇𝗮𝘁𝗶𝗼𝗻, this is a must-watch. 🎥 Watch the full video on YouTube: https://lnkd.in/daftMhpv

Reimagining Ghana’s History Through the Lens of Artificial Intelligence 🇬🇭 In an era where emerging technologies are reshaping our world, I’ve been inspired to ask: How can we harness AI to preserve, protect, and promote the rich cultural legacy of Ghana—and Africa at large? Introducing the Digital Ghana Museum — a visionary initiative using #AI, #3D design, #VR, and #blockchain to digitally immortalize our nation’s heritage. As a proof of concept, I used AI-powered tools (like #GPT-4 and DALL·E) to generate golden 3D statues of all Ghanaian Presidents — from Osagyefo Dr. Kwame Nkrumah to the present. These aren’t just digital creations — they’re symbolic representations of our collective history. But this is only the beginning. 🌍 Our Vision: A Pan-African Digital Museum A collaborative platform that will: 1. Digitally recreate and preserve artifacts, monuments, and cultural sites 2. Highlight influential historical figures and everyday heroes 3. Use AI storytelling, VR immersion, and blockchain authenticity 4. Invite contributions from creatives, historians, and communities across the continent This is more than a digital archive — it’s a movement to reclaim our narrative, showcase our greatness, and make history accessible to future generations through immersive technology. 📌 Stay tuned for updates, collaborations, and calls for contribution. Let’s build the future by preserving our past — together. STEMAIDE IoT Network Hub - Africa Prince Boateng Asare Ameyaw Debrah Darlington Akogo Abdoulaye Diack Jerry John Kponyo Kobi Hemaa Osisiadan-Bekoe, APR A. Naa Korkoi S. (CPMC) Papa Arkhurst Ato Ulzen-Appiah Juliet Yaa Asantewa Asante (Juliet Asante) Edward Asare Elisabeth Morzadec Isaac Newton Acquah Ammishaddai Ofori Amma A. Gyampo Ministry of Communication, Digital Technology and Innovations AI Ghana UNESCO UNICEF United Nations Eldad Nutakor Michelle Chivunga N H. E. Nana Ohene Asante, MD. PhD 🇬🇭🇿🇦🇷🇼🇹🇿🇸🇨 OpenAI Kwesi Hayford #DigitalGhanaMuseum #AIForCulture #CulturalPreservation #GhanaHistory #PanAfricanHeritage #KwameNkrumah #GhanaPresidents #InnovationInAfrica #3DArt #EmergingTech #ArtificialIntelligence #VRInEducation #BlockchainForCulture #AfricanInnovation #PreserveHistory #AfricaDigitalRenaissance #SmartHeritage #TechForGood #AIStorytelling

UNESCO just launched the world’s first Virtual Museum of Stolen Cultural Objects. I went in curious and left very emotional. Some artifacts were reconstructed from nothing but a single photo, turned into 3D models with AI. It’s brilliant, but also heartbreaking. Proof of how fragile cultural memory really is. And my first thought was: “Maybe one day Tanit XR’s scans will be in here too.” Then it hit me: I don’t ever want that. Because as inspiring as this museum is, every artifact inside is there because it was stolen or lost. That’s exactly why we started Tanit XR: to preserve Tunisia’s heritage before it disappears. Using photogrammetry and Gaussian splats, we’re building a living digital library of real, intact artifacts and sites. I also noticed there was no Tunisia represented in this museum. Yet I’ve seen artifacts disappear from museums and remote communities with my own eyes. That absence only makes our mission more urgent. This museum is powerful, visionary, and necessary. It’s a reminder that we need to make sure our culture doesn’t become something we only see after it’s gone. #UNESCO #TanitXR #VirtualMuseum #DigitalHeritage #CulturalPreservation

Editorial by Sylvain Lévy Korea’s Digital Renaissance: Reprogramming the Art Ecosystem What if cultural heritage was no longer housed in temples, vitrines, or palaces—but streamed, coded, and experienced in the liquid space of the digital? South Korea offers a glimpse into this future, where a nation’s memory is not just preserved but reimagined through immersive technology. What began as a response to preservation is fast becoming a transformation of the entire art ecosystem. The digital reproduction of the Gwanggaeto Stele—an iconic relic of Korea’s national history—was not simply a technical feat; it was a shift in ontology. The stele, once fixed in place and time, now lives across servers and screens. It has won design awards, but more importantly, it has redefined access. This is not reproduction—it is resurrection. Through VR, AR, and interactive platforms, Korea is constructing a new model: heritage as interface, art as code, presence as projection. And yet, as with any revolution, there is dissonance beneath the surface. The legal and infrastructural skeletons remain analog. As Mika Noh astutely notes, Korea’s ambitious digitization faces critical roadblocks: no clear legislation around digital heritage, unclear copyright laws, insufficient investment in talent and tools, a lack of standardization across institutions, and—perhaps most worryingly—a failure to ensure that digital content remains active, visible, and relevant after its creation. As collectors, curators, artists, technologists, and policymakers, we are now operating in a space where the very idea of cultural capital is being redefined. In this new landscape, prestige is no longer attached to scarcity or exclusivity—but to circulation, accessibility, and adaptability. This challenges deeply held assumptions in the art market, the museum world, and even among those of us who have built our lives around the physical aura of the object. Korea’s experiment compels us to ask: What if the museum is no longer a place, but a protocol? What if curation is no longer the selection of rare objects, but the orchestration of meaningful experiences in a world saturated with digital content? What if collecting is no longer about possession, but about activation—how we enable art to live and breathe in new formats, new spaces, new publics? This is not the end of the art world—it is its metamorphosis. Korea is not offering a template to replicate, but a provocation: how do we build an art ecosystem that is agile, inclusive, and forward-looking, without losing the depth, ambiguity, and humanity that art demands? The answer will not come from technology alone, nor from policy alone. It will come from a new kind of cultural thinking—one that embraces hybridity, honors tradition while bending it, and recognizes that in the age of the algorithm, the role of the artist, the curator, the collector is not to resist the future, but to shape it. https://shorturl.at/HBqIQ