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Uudet teknologiat otetaan vastaan usein tunneperäisesti, toiset ovat kiinnostuneita, toiset epäilevät. Uudet keksinnöt ja teknologiat oikein käytettyinä avaavat meille uuden maailman, tehostavat toimintoja, lisäävät luovuutta ja mahdollistavat asioita. Tämän työn tilaajat olivat sovelluskehitysyhteisö Viastar ja kulttuurialan toimija Carnivale. Tilaajia kiinnostavat uudet teknologiat kulttuuriperinnön sovelluksissa ja hankkeissa. Tämä kehittämistyö tutki ja tarkasteli, miten voimme paremmin hyödyntää uusia teknologioita sukututkimuksen apuna. Työssä tutkittiin, miten voimme yhdistää perinteisen ja DNA-analyysiin pohjautuvan sukututkimuksen. Tässä työssä käytiin myös läpi muita uusia teknologioita, joita voidaan hyödyntää sukuhistorian ja kulttuuriperinnön tallennuksessa, tutkimuksessa sekä myös yleisemmin kulttuurituotantojen tukena. Kehittämistyötä tehtiin tutkimalla ja kokeilemalla uusia teknologioita sekä käymällä läpi laajasti opinnäytetyön tekijän sukuun liittyviä sukututkimuksia ja niiden kautta esiin tullutta kulttuuriperintöä, vanhoja kuvia, karttoja ja paikkoja. Geneettisen sukututkimuksen avulla tutkittiin isä- ja äitilinjoja eri tekniikoilla ja jäljitettiin eri sukujen kulkureittejä menneiden vuosisatojen aikoina. Tässä opinnäytetyössä analysoitiin tekijän omasta suvusta teetettyjen DNA-testien tuloksia ja osoitettiin, miten ne toimivat käytännössä sukututkimuksen välineinä. Tässä työssä käsiteltyjä muita kulttuurituotannon tekniikoita olivat drone-kuvaus, lidar-kuvaus, virtuaali- ja lisätty todellisuus. Tutkimusmenetelminä käytettiin aineistotutkimusta, DNA-testejä, havainnointia, haastattelua ja kenttätyötä kokeilemalla käytännössä erilaisissä ympäristöissä uusia teknisiä välineitä. Työn tuloksina todettiin, että uudet tekniikat toimivat sukututkimuksessa ja kulttuuriperinnön tallentamisessa erittäin hyvin. Uudet tekniikat avaavat uusia sisältöjä ja osallistavat kulttuurin tuottajan sekä kuluttajan tuotantoihin syvällisesti. Toimenpide-ehdotuksena esitettiin, että sukututkimuksessa ja kulttuurituotannoissa otettaisiin rohkeasti uusia tekniikoita laajasti käyttöön toiminnan parantamiseksi ja tehostamiseksi. New technologies are often embraced emotionally: others show interest and others doubt. It is a fact that new inventions and technologies, when used properly, open up new worlds for us, streamline operations, increase creativity and enable things. This thesis was commissioned by the application development company Viastar and the cultural sector enterprise Carnivale. Both commissioners are interested in new technologies on cultural heritage applications and projects. The objective of this study was to explore and examine how new technologies can better be utilized in genealogy. The study explored how to combine traditional and genetic genealogy research. It also reviewed some other new innovative technologies that can be used on cultural heritage research and in cultural productions. The study was carried out by exploring and experimenting new technologies and going through extensive genealogy and cultural heritage materials, old images, maps, and places that have emerged through genealogy research. In terms of genetic genealogy, lineages have been studied using different DNA techniques and the pathways of different genera have been traced over the past centuries. The study analyzed the DNA research results from the author's own lineage and show how they work in practice as a tool for genealogy. Other cultural production techniques covered in this study include drone imaging, lidar imaging, as well as virtual and augmented reality. The research methods used were document analysis, observation, interview and fieldwork by experimenting new technical tools in different environments. The results indicate that the new technologies work very well in genealogy and in saving cultural heritage. New technologies open up new content and deeply involve producers, researchers and cultural consumers in productions. The thesis proposes that genealogists and cultural sector make widespread use of new technologies to improve and increase their efficiency.

Hallucinations are believed to be as old as the human’s brain. Usually, modern people relate to hallucinations in drugs or mental illness. Modern man may not think how great impact hallucinations have had on arts, religions, and folklore. The purpose of this thesis was to study how hallucinations have impacted art. This study also includes an AR installation which is based on this written part of the thesis. The data for this thesis was found from various sources such as literature, journals and researches. Art history and modern art pioneers’ work such as Wassily Kandinsky, Yves Klein and Hilma Af Klint were considered. The study also deals with hallucination studies in the 50s, cave art, and religion as a part of art. The latest research have demonstrated that hallucinations are more common than we have been suggested. Although hallucinations are still a mystery for scientists, the mechanism of hallucinations is known. Studies of hallucinations in modern art lead inevitably to artists interest in esoteric and occultism. Studies indicate that the arts role as the creator of modern spiritualism is big. Theologian Christopher Partridge has created the term “occulture” to describe this late modern era. According to Partridge, there is a process underway that traditional religions have to make room for more spiritual culture. Nowadays artists’ interest in esoteric thinking has a great impact on further, it can be found everywhere from our popular culture, and it can be seen globally. However, not all artists necessarily relate their works with esotericism, but the subconscious can also be studied from the perspective of neuroscience. Developing VR, AR, MR, and IA technology gives new tools to explore the subconscious through art.

The thesis presents the artistic research project that began alongside my artistic practice and was further developed in reflective collaboration with Tomi Humalisto and Nanni Vapaavuori. The approach used to conduct the research follows the practices and the processual character of artistic research. My individual work was the preliminary step for the common research. A virtual reality artwork that I created served as the catalyst for the research. Consequently, the creative process of the author and the audience’s experience were put under examination. The artistic research occurred in different steps and adopted various methods to meet the current objectives. The research was initiated from personal interest to reflect on the possibilities of experiencing light art in virtual reality. The urge to disseminate the reflection widely led to the collaboration with colleagues and to a colloquium presentation. Finally, the research resulted in a proceedings article from this presentation. The article has been submitted at the moment of writing this thesis report, and its publication has been agreed upon. The article explains the process of examining the virtual reality artwork. It connects this particular artwork to a broader context of virtual reality experiences and to the philosophical ideas of Georges Didi-Huberman. It legitimises and articulates the reflexive and discursive work done during the process. The thesis report frames the whole artistic research project shedding light on the context of light art, the character of virtual reality as an experiential medium, and the field of artistic research retroactively.

Endangered natural and cultural sites are commonly visited by hundreds of thousands of visitors annually. Although, tourism does provide necessary funds to maintain heritage sites, these cultural and natural symbols are constantly under mechanical wear resulting shifting in their original form. The subject of this research is to uncover how virtual reality can be beneficial in preserving and rescuing endangered heritage sites. The work deals with such issues as the definition of virtual reality, the effects inflicted on endangered world heritage sites by tourism, examples for virtual traveling as well as existing solutions and whether virtual reality can be a substitute for traveling and visiting world heritage sites.