We observe how gallery visitors and the viewer-as-avatar may experience artwork that includes both real and virtual elements. The use of a mixed-reality environment takes the exhibition beyond its traditional function of passive “display” into a zone where the observer is an active participant, even a co-creator of the work. We observe how the virtual art may “augment” reality while the real art objects may demonstrate Milgram and Kishino’s theory of “augmented virtuality.”

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Purpose This paper aims to examine how media play a role in community responses to disaster. The authors explore how communication technology may allow new relationships between community groups and emergency agencies. The authors examine the context within which warnings and risk communication are interpreted by media services. The authors observe how, in an emergency context, the thinking about media may change from that of a linear framework of information provision to one of shared resources. Design/methodology/approach The authors focus on Second Life, a shared, online space which uses 3D graphic images to simulate a virtual environment. Second Life is posited as a media tool with clear advantages for the training of emergency services professionals and citizens in the community. The authors observe emergency training scenarios and advantages for training for critical thinking and decision-making. Findings The authors observe then how virtual worlds such as Second Life provide an online forum in which participants can interact, communicate and simulate action in a complex 3D graphic environment. Second Life may be a useful medium for simulating and testing geo-physical and social manoeuvres using the modeling tools. This may allow for collaborative decision-making in simulations which can prepare or rehearse people for emergency conditions. It may be useful in an emergency with information streamed and coordinated at a single online site. A shared network like Second Life may be shared by many people co-synchronously or a-synchronously, despite their geographic distance. Second Life applications may also be useful in the aftermath of emergencies for design and rebuilding, for analytical and educational purposes. Research limitations/implications It is clear that social networks like Second Life provide a valuable tool with which to learn about and share data and information about bushfires, community emergencies and safety precautions in a social setting. It can also provide, at the local level, a forum for community information and discussion, as well as for counselling and reconstruction in the aftermath. Practical implications The authors suggest that the range and flexibility of tools and their excellent geographic visualization and social networking functions may in future allow for learning and decision-making among diverse and disparate groups who can come together in virtual space. It is especially useful in remote communities as a means of uniting people who are otherwise isolated by distance or trapped in emergency situations. Second Life is useful for sharing information, organizational and local knowledge about disaster and mitigation management. This media-rich platform is valuable to a community that is increasingly adept with shared, 3D graphic computer interfaces. Social implications Applications like Second Life may provide a space where users can access a range of tools as a means of informing, educating, empowering and warning participants in emergency scenarios, both real and simulated. They are more than virtual spaces; they are also social spaces. A platform like Second Life may provide a virtual solution for such communication challenges especially where communities are too remote, too dispersed or even too many in number to be easily accessible in the field. Originality/value This paper contains new and significant information about emerging communication systems and platforms that may be of use to those researching and planning around disaster management, mitigation and resilience. It addresses the use of new techniques which are the result of innovation in technology, software design and network design. It applies a discussion of these techniques to several hypothetical and real-life scenarios to explore the potential for virtual tools as a way of providing enriched information, mapping and communication tools across a range of disaster response scenarios.

As computer-driven display technology becomes more powerful and accessible, the online, virtual art gallery may provide a new platform for artists to exhibit their work. Virtual exhibits may afford opportunities for both the artist and the patron to display, view and perhaps purchase various digital art forms. The aim of this paper is to examine user interaction with digital artworks inside a virtual gallery space. We use a range of criteria to describe conditions for both the designer and the user of such a virtual display system. The paper describes a number of experiments where users interacted with a virtual art gallery and were then extensively interviewed and surveyed. Measures of what Manovich (2002) describes as ‘immersion' and what Slater et al (1994) would term ‘presence' are observed in relation to the user experience. The gallery is a three-dimensional graphic digital construction built in Second Life. The experiment aimed to describe and delineate the user's perception and navigation of space and compares their perception of art objects in the virtual environment to digital objects in a ‘real world' gallery. The data collected in this study provide the basis for a discussion of how users may perceive and navigate virtual objects and spaces in an online environment such as a game or art gallery. The results may be of use to those designing interactive three-dimensional environments.

This paper describes a research project which attempts to analyse human perception of and interaction with virtual art representations in an online, three-dimensional graphic environment. Specifically, discerning how user experience may relate to engagement, immersion and interaction. A series of experiments are described, involving participants who experienced virtual artworks in multiple gallery environments and utilise different viewing perspectives. The paper then provides an analysis of the data recorded and gathered during user-testing. The experiments are undertaken within a specific virtual art gallery in the online virtual world Second Life. Demographic data is linked to the user experience focusing on the use of first person (egocentric) and third person (exocentric) screen perspectives. An examination of the user's perception of both two-dimensional and three-dimensional virtual artefacts is also provided. This paper concludes with an insight into the usability and effectiveness of designing, presenting and experiencing art in a threedimensional virtual environment.