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. Photo: Jorunn Solli Figure 3: A phone booth for Clark Kent. © Museum of Cultural History, University of Oslo. Photo: Jorunn Solli PER B. REKDAL126 The computer game served as a transition to the aesthetics of war as communicated to spectators. Here, visitors could sit in a comfortable chair in a Norwegian living room and watch the fighter planes of Operation Desert Storm (the liberation of Ku- wait) take off into the beautiful sunset. On the wall of the living room, there was a romantic painting of a Norwegian nature scene and family photographs. Those who

combine these two sides of education from the start. New media are instrumental in this respect. In the permanent presentation on the city’s short history, Amsterdam DNA, for instance, we included a computer game in which every visitor discovers their own dominant Amsterdam-DNA-component (“Are you foremost an entrepre- neur, a creative, a freethinker or a well-doer?”). After the result of this playful self-analysis is revealed, visitors can download an app which guides them along the historical sites in the inner city that are linked to their dominant Amster- dam

von virtuellen Welten anbietet und für das Erstellen derselben eine entsprechende Software liefert.323 Die 321 Siehe hierzu: M. Meister / M. Boss: On using State of the Art Computer Game Engines to Visualize Archaeological Structures in Interactive Teaching and Re- search, in: Magistrat der Stadt Wien – Referat kulturelles Erbe – Stadtarchäolo- gie Wien: „Enter the Past“, The E-way into the Four Dimensions of Cultural Heritage – CAA 2003 – Computer Applications and Quantitative Methods in Archaeology – Proceedings of the 31st Conference – Vienna – Austria