## 2 State of the Art--Values and Digital Communication of CH
### Digital Communication of CH that accounts for Values  
Studies on digital applications within museum environments have focused on technologies and design elements that improve the user experience. Authors have published detailed guides on designing user experience for various digital platforms such as websites, mobiles, wearable computing, social media and collaborative environments [17]. Digital technologies such as smart maps have been used to \"present the'story' of museum resources and knowledge as a journey\". This 'Stories, Journey and Smart Maps' (SJSM) approach was shown to increase the emotional engagement of users with museum collections [18]. Literature reviews covering mobile, AR, VR and Mixed Reality technology in cultural heritage communication and tourism show the extent of technology adoption and data collection [5; 6; 19]. Improving user experience, increasing emotional engagement, encouraging technology adoption, enhancing digital presence and digital accessibility are necessary for heritage communication institutions such as museums in an increasingly inter-connected world with a growing number of digital-natives. It has been argued that \"the large banks of objects and knowledge about our past held in museums are an extraordinary source of discovery, leisure and life-long learning for the emerging digital heritage tourist\" [20]. While exceptional research is being carried out with regards to improving user experience and more research may be needed on the digital accessibility of museums, studies on the communication of CH that highlights the CH values inherent in the heritage properties and their intangible associations have not been frequent. We take the view that the communication of CH can be enhanced by identifying, filtering and thoughtfully presenting CH values in digital content intended for willing participants. A noteworthy example of identifying CH values leading to effective conservation of community value associations can be seen in the implementation of the Mobile Museum project. The Mobile Museum project was built around the artefacts housed in Queensland museums to facilitate remote access for Nalik people of New Ireland, Papua New Guinea to reconnect with their heritage [21]. This project employed a participatory methodology to meet the needs of the community and was a collaborative exercise with the University of Queensland, the Queensland museum and the Nalik community. The designers were looking to provide digital access to wooden sculptures and carvings housed in the Queensland museum through their 3D recreations. These sculptures are an integral part of the Nalik communities funerary rites. According to the community traditions, these wooden sculptures carved after the death of a person and adorned with clan specific motifs are presented to the community with accompanying song and dance rituals at a'mortuary feast'. Once the rituals associated with death were complete, these sculptures called '_malangan (also spelt as Malangan or Malgan)_' were burnt or left to rot. These sculptures are then re-carved at the next mortuary feast by the specific carriers who carry out this task from memory. The CH value associated with the malangan is not in the physical sculpture and its carving but in the memories of the imagery and in the right to reproduce such carvings [22]. The Mobile Museum project designers were cognizant of these value associations and attempted to address concerns in the Nalik community that some clans had forgotten how to reproduce their malangan carvings. A digital platform was created through which members of the community could see the 3D recreations of malangan and even zoom in to understand the imagery and carvings on the sculptures. Textual descriptions and notes made by community members were also used to enhance the digital recreation.