£50,000 Art Fund Grant Supports 3D Costume Digitisation Project at Cornwall Museums Partnership


A clothes rail of colourful historic military costumes at Bodmin Keep

– Cornwall Museums Partnership (CMP) has received a £50,000 Respond & Reimagine grant from Art Fund to deliver a new, innovative approach to generating income for museums with the Beyond Digitisation project.

– This partnership project with innovative tech start-up Purpose 3D will produce 3D models of costume collections at three museums – Royal Cornwall Museum, Penlee House Gallery & Museum and Bodmin Keep – to be made available to commercial markets such as the gaming and fashion industries.

– The models will also be used to support innovative and inspirational new methods of interpretation, enabling up-close digital engagement with collections when physically visiting and handling is less possible.

– The project will run for 6 months, starting in December 2020 and running until June 2021.


Respond and Reimagine Grants

A logo of blue text on a white background: 'Art Fund_'

Since the pandemic began, Art Fund has donated £2,250,000 to 67 projects across the UK through its Respond & Reimagine emergency response grants. The grants help museums to adapt and evolve for the challenges posed by the pandemic, from taking their collections online, to making their spaces Covid-safe.

We are pleased to announce that Cornwall Museums Partnership has been awarded a Respond & Reimagine grant to deliver a new, innovative approach to generating income for museums through the Beyond Digitisation project.


Beyond Digitisation: Creating Useful Digital Assets and Sustainable Income Streams

The Beyond Digitisation project aims to unlock the potential of 3D digitisation technology and generate 3D digital assets of the costume collections at Royal Cornwall Museum, Penlee House Gallery & Museum and Bodmin Keep. This breakthrough project will support the museums to transform their approach to digital collections engagement and inspire new methods of interpretation. 3D scans offer more dynamic digital resources than 2D photographs, enhancing the visitor experience by allowing users to zoom, rotate and interact with collections in an engaging way not currently possible.

Verity Anthony, Visitor Experience and Collections Manager at Bodmin Keep says “The Beyond Digitisation project has been a fantastic opportunity to explore the possibilities open to us in using 3D models to bring our collections and Bodmin Keep to life, for education, engagement and interpretation both now and in the future.”

A red and gold military costume on a stand is being photographed with a white screen and lights around it - part of the digitisation capture process at Bodmin Keep.

A military uniform from the collection of Bodmin Keep set up for the 3D digitisation capture process

CMP is partnering on this project with Purpose 3D, an innovative start-up based in Penryn who specialise in the 3D digitisation of vintage and historical clothing for commercial purposes and digital download. Harnessing cutting-edge photogrammetry technology, they produce authentic and realistic 3D models for commercial sectors such as the gaming and fashion industries.

Adam Tindall, co-founder of Purpose 3D, says “We feel very privileged to have such forward thinking institutions such as CMP and the 3 museums we are partnering with on our doorstep and their willingness to embark on a project embracing digital technology. Bringing history to life in 3D is really rewarding and we have been blown away by the depth of collection and history displayed by the museums of Cornwall. Hopefully the work we are doing will help to bring their collections to life, appeal to new and existing visitors and spread the word of the amazing collections and stories that lie in these amazing museums.”

Jeni Woolcock, Collections and Engagement Officer at Royal Cornwall Museum says ‘We are really excited that this project will show our costume collection and let people really get close and see details such as lace, buttons, trimmings and even wear and tear. The collection is very fragile and vulnerable to light, so we aren’t able to display it as often as we’d like. It is the late 19th century trousseau of Edith Williams of Pencalenick. She married Reverend Sidney Cooper on 9th January 1890. Being a clergyman, he lived in a different social position, which might account for why she rarely wore the fashionable and expensive clothes. Their letters and 11 children indicate that they had a happy life. The trousseau passed down to her grandson until he kindly donated it to the museum. We are really pleased that this project has given us the opportunity to show this beautiful collection of fine gowns, day dresses and shoes.’

Four different historic military jackets in their 3d digitised form. All from the costume collection at Bodmin Keep

Digitised 3D models of the costume collection at Bodmin Keep

By bringing historic costume collections to life, the 3D models will make an attractive product for inclusion in digital products. The scans could be developed into military uniforms for a First World War animation, character costumes in a video game, or inspiration in a fashion designer’s studio. Such industries are becoming increasingly concerned with authenticity; for example, Alexander McQueen’s 2020 autumn/winter collection was inspired by the collections and buildings at St Fagan’s National Museum of Welsh History.

Katie Herbert, Curator at Penlee House Gallery & Museum says, “Penlee House Gallery & Museum were thrilled to take part in this project as we have a wonderful collection of Crysede hand block printed silk and linen garments from the 1920s/30s. We don’t have much display space for costume within the museum so being able to have 3D photography of the garments means that we can offer far greater public access to the collection. The collection is extremely popular with fashion and textile students and being able to exhibit them online will provide an invaluable research tool.”

We are incredibly excited about this unique opportunity to create new 3D assets with museums and explore further opportunities to develop sustainable income streams. Beyond the financial and collections impact, successful commercial partnerships offer exciting potential to showcase Cornwall’s museums internationally. If a company with a popular game, film or product incorporates one of our scans this could catapult the museum collection into pop culture in a limitless way.


For further information contact:

Charlotte Morgan, CMP Collaborative Programmes Manager



About CMP:

Cornwall Museums Partnership is an independent charitable incorporated organisation, formed in 2015 to provide leadership for Cornwall’s 70 museums; to support them, represent them and give them a voice. We are a sector-leading charity which is not afraid to think differently. Our values of collaboration, inclusivity and innovation inform everything we do.

Our ambition is to be recognised nationally and internationally as a pioneering model of collaborative leadership which promotes innovation and resilience in the museums’ sector and beyond. We want to shift the dial in terms of the impact and value museums create. By working in partnership with museums, we want to help them to use their collections effectively to foster happy, healthy and prosperous communities where heritage is valued and celebrated.

Cornwall Museums Partnership, Studio 101, Krowji, Redruth, Cornwall, TR15 3GE


About Art Fund:

Art Fund is the national fundraising charity for art. It provides millions of pounds every year to help museums to acquire and share works of art across the UK, further the professional development of their curators, and inspire more people to visit and enjoy their public programmes. In response to Covid-19 Art Fund has made £2 million in adapted funding available to support museums through reopening and beyond, including Respond and Reimagine grants to help meet immediate need and reimagine future ways of working.

Art Fund is independently funded, supported by the 159,000 members who buy the National Art Pass, who enjoy free entry to over 240 museums, galleries and historic places, 50% off major exhibitions, and receive Art Quarterly magazine. Art Fund also supports museums through its annual prize, Art Fund Museum of the Year. In a unique edition of the prize for 2020, Art Fund responded to the unprecedented challenges that all museums are facing by selecting five winners and increasing the prize money to £200,000. The winners are Aberdeen Art Gallery; Gairloch Museum; Science Museum; South London Gallery; and Towner Eastbourne.


Penlee House Gallery & Museum:

Penlee House Gallery & Museum, owned and operated by Penzance Council, is an award-winning gallery presenting a year-round programme of changing exhibitions featuring the art of West Cornwall from c.1880 to c.1940. The majority of exhibitions focus on the world famous ‘Newlyn School’ and Lamorna artists such as Stanhope and Elizabeth Forbes, Walter Langley, Harold Harvey, Lamorna Birch and Laura Knight. Penlee House also features the archaeology and social history of the area including Crysede fabrics and Newlyn Copper. Set within an elegant Victorian house and park, the building is fully accessible and has an excellent café and shop.

Visit www.penleehouse.org.uk or call 01736 363625 for details.


Royal Cornwall Museum:

At the very heart of Cornwall and its cultural life, the Royal Cornwall Museum is a centre of exploration and learning. Using our eclectic collections of Cornish culture, art, antiquities, science, minerals and natural history we take people on a journey from Cornwall deep into the ground, up into the sky, around the world and way back in time, and we use our collections to help our communities look forward together.

We aim to provide a welcoming, dynamic, and lively cultural hub centred around our collections. We are a charity that does not receive regular funding. Public support through donations and visitor income is vital to our success. We are grateful for the support provided by grants from Arts Council England through Cornwall Museums Partnership, Cornwall Council and the National Lottery Heritage Fund.



Bodmin Keep:

Bodmin Keep is the historic home of the Army in Cornwall. Home to the collections of the Duke of Cornwall’s Light Infantry (DCLI) and the Light Infantry, the historic depot of the DCLI houses collections from 1702 to 2007. From uniforms to weapons, and medals to memorabilia, the collection offers a glimpse into the lives of the soldiers and their families, the places they visited and the campaigns in which they fought. As an independent registered charity, we rely on income from visitors, donations and grants to continue to grow and thrive in to the future. The support of our funders including the Arts Council and National Heritage Lottery Fund is invaluable to the work we do, presenting our soldiers’ pasts for our future.



You can view this press release as a PDF here: Beyond-Digitisation-Art-Fund-PR


A Day in the Life: Magali Guastalegnanne, wAVE Digital Marketing Intern

Welcome to our blog series, ‘A Day in the Life…’ which features a member of the CMP team and what they get up to on a typical day at work. 

Next up is Magali Guastalegnanne, Digital Marketing Intern on the wAVE Project. Read on for more about how Magali spends her time at Cornwall Museums Partnership.

A young woman in a blue jumper and jeans sits on a rocky outcrop in a sunny desert environment.

As the Digital Marketing Intern for the wAVE project (which you can find out more about on this webpage) there are two things my day normally starts with: checking messages/emails and social media. Social media is a very big part of what I do, and even just over the two months that I’ve been here it’s been a real joy to watch it grow and develop. Typically, I will first spend some time seeing how posts from the previous day have been received and checking what’s happening on all the platforms.

I run two social media accounts, the first is an Instagram account for Coastal Timetripping (the public facing name for wAVE). Coastal Timetripping is a really interesting project where 5 different museums are launching immersive technology experiences in their area. These location-specific adventures allow travellers to ‘move through time’, experiencing Cornwall’s dramatic and vivid past in our advanced modern day. It’s been really exciting to work on and I can’t wait to see it launch this Spring. I’ve especially enjoyed working with all the beautiful pictures that were taken last year for the Instagram account, and researching information about the locations to share. Recently, I’ve also begun working on stories for the account which has been a bit experimental and quite fun to do.

The second account I run is a Twitter account for the Museums Immersive Network (MIN). The network is an off shoot of the wAVE project that was created in partnership with XpoNorth to build bridges between tech businesses, museums, and heritage sites. Immersive technology includes technology such as virtual and augmented reality, holograms, chatbots, AI, facial recognition and lots more in this rapidly developing field. A big part of this is going through Twitter and keeping up with what is happening in the heritage and immersive tech sector, in particular anything that involves both.

A collection of small cardboard boxes each bearing colourful designs.

Magali’s Fun Palace crafting sessions

I started working with CMP at the beginning of January, which means a typical working day for me is in my bedroom. However, despite this I have come to know the staff at CMP quite well thanks to the regular catch ups as well as the posts and chats. Recently, we even did a Random Act of Kindness week where everyone was matched up with a different person to do an anonymous act of kindness for. These varied from gifts sets and anonymously sent packages, to research for home décor. I particularly enjoy the weekly arts and crafts sessions that we do, it encourages me to keep up with a creative hobby and it’s also great fun to see what everyone is making.

I also work on blog posts for the CMP website about wAVE and MIN, as well as blog posts for the official Coastal Timetripping website. The Coastal Timetripping blog posts usually look at what people can do in the coastal communities where the immersive experiences are, for instance walks in the area, nearby attractions that are worth a visit etc. Occasionally, I also respond to enquiries sent via the website and through the MIN Twitter asking for information or proposing collaborations. Typically, around 3.00-4.00 pm I take a break to walk the dog and get some exercise. It’s good to have some fresh air and a bit of a break at this time in the day, I find it makes it easier to concentrate when I get back.

A golden Labrador looks up at the camera.

After this it’s a few more hours of work and then the end of the day! Occasionally I also have meetings or email exchanges with the museums, marketing company and other wAVE partners such as Falmouth University who developed the immersive tech experiences. These are usually a good chance to catch-up on what both sides have been doing, discuss anything that needs our collective input and what we’re planning to do moving forwards. Though some days there are just one or two meetings, others are considerably more manic. I’ve had a fantastic time working for CMP, I’m close to halfway through my internship now and I’m looking forward to the rest of it (especially if we can go back to offices and be able to meet face to face)!


– Magali Guastalegnanne, wAVE Digital Marketing Intern

Magali works Mondays to Fridays and can be contacted at magali@cornwallmuseumspartnership.org.uk.

Coastal Timetripping: the Smuggling History of Looe Island Explored

In this guest blog written by Petra Stephenson of Looe Old Guildhall Museum and Gaol we delve into the fascinating smuggling history of Looe Island and the historical research uncovered in preparation for the new Coastal Timetripping immersive experience launching when museums reopen this Spring…

The Old Guildhall Museum and Gaol in Looe has been busy in lockdown developing an augmented reality experience as part of the CMP wAVE Project. This experience follows the imagined journey of a monk and a pilgrim on Looe Island, once home to a Benedictine chapel built in 1139. Visitors will use tablets to hover over a 3D wooden map of the island and activate projected scenes from the story. They can choose characters to talk to as they find out more about the monks who lived on the island, whilst collecting ingredients to create a tincture for a fellow sea-sick pilgrim.

A cloudy sky 'The wAVE Project (AVE = Augmented and Virtual Experiences)'.

But as well as the Looe Island model, the museum was also able to commission an Immersive Exhibition Cabinet telling the stories of smuggling and asking whether it was ‘Right or Wrong’, as well as showing a timeline of Looe Island and how the sea levels are changing. The members of our team working on the wAVE project recruited PLB, an exhibition design agency to build this; we have been delighted with their design and creative detail and the team has been involved in a lot of research for this project.


Looe Island’s Smuggling History

The history of Looe Island, especially the smuggling aspect, has always fascinated our visitors. Many legends have grown up around smuggling and one of the most fearsome stories is that of the last smugglers to live on the island – Amram Hooper and his sister Jochabed. Jochabed behaved in a manner expected of a man of her time rather than a young woman, she could row a boat, smoked and swore, and would even use her fists to great advantage when the occasion required. She wore a man’s hat, a blue knit frock and sea boots; her skirt was always rolled up and fastened above her knees and even the Revenue Officers did not care to come to close quarters with her!

The famous painting in Looe’s Guildhall, ‘Arrest of the Smuggler in East Looe, 1820’, painted by John Robertson Reid is said to show Amram Hooper and Jochabed, and in the background there is a mysterious dark figure watching. It is thought this could be Joan Finn, another famous Looe smuggler.

A luscious green garden with purple flowers and ferns leads up to an old white cottage with a blue door, set amongst a leafy forest.

Smugglers’ Cottage, Looe Island

A painting ‘Arrest of the Smuggler in East Looe, 1820’ by John Robertson Reid. Showing Amram Hooper and Jochabed, and in the background there is a mysterious dark figure watching who could be Joan Finn, another famous Looe smuggler.

‘Arrest of the Smuggler in East Looe, 1820’ – Looe Old Guildhall Museum & Gaol Collection

One of the best sources for details of smuggling activities in the area is the work of Commander H.N. Shore, later Lord Teignmouth. One particularly relevant account published in 1899 was an interview with an elderly former smuggler calling himself William Penaluna. His stories cover the 1830s in particular and feature a vessel called the ‘Daniel & William’, which plied her free trade between Guernsey, Roscoff and the Cornish coast, and actually mentions Looe Island. In his account, Amram Hooper and his daughter Tilda were said to have had 300 tubs dropped on Looe Island, which were hidden in secret hideaways known only to the family, and that it was three months before the goods could be distributed.

Another of our ‘Right and Wrong’ stories is about Thomas Fletcher, an Irishman who came to Looe as a coastguard in the 1830s. He married a local woman, raised a large family and then left the coastguard service to join Amram Hooper’s organisation. Here he used his in-depth knowledge of the coastguards to plan out his smuggling activities. He was given a walking funeral to his last resting place in Sclerder Abbey above Talland Bay.

A black and white engraved portrait of an elderly, bearded man in fisherman's garb

Thomas Fletcher

Two dark caves set in the cliff rocks on the Cornish coast near Looe.

Looe’s smuggling caves

One of our highlights of 2021 so far was the opportunity for five of the museum volunteers to record the voices for our ‘Right and Wrong’ characters, and the scripts provided by Rob Sherman were a joy to read. We hope that once the museum re-opens these will show our visitors how smuggling provided an ethical dilemma for many.

Four people sit (socially distanced) on benches in an old wooden room, behind them a tapestry and various manuscripts propped up.

The Looe team researching the history needed for our smuggling project

The history of Looe Island itself dates back to prehistoric times and there have been many owners, including the Trelawny family. Sir Jonathan Trelawny was Bishop of Bristol, Exeter and Winchester, one of the Seven Bishops tried under James II in 1628, and the hero of the Cornish ballad ‘The Song of the Western Men’ known for the refrain ‘and shall Trelawny die’ written by R.S. Hawker.

In 1964 two sisters, Evelyn ‘Attie’ and Rosalyn ‘Babs’ Atkins, fulfilled their dream of living on an island by purchasing Looe Island, and then bequeathed it to the Cornish Wildlife Trust after they died. This nature reserve is now an important part of modern Looe, and their vision and hard work will always be remembered.

An aged photograph of two women sat at the back of a boat with a dog between them. Behind them is a sunny Cornish coastal view.

Babs and Evelyn Atkins

In February 2021 the museum were saddened to hear of the death of Barbara Birchwood-Harper, a former Curator at the museum, who had carried out so much research into the history of Looe, especially the smuggling that took place on the island. A plaque on our new Exhibition Cabinet will honour her memory and the importance of her research.


Petra Stephenson, Looe Old Guildhall Museum and Gaol

You can find out more about the new Coastal Timetripping immersive experiences at five Cornish museums on the wAVE Project webpage or the Coastal Timetripping website. We hope these experiences will be able to open to visitors in the Spring of 2021.

10 Things we Did to Put Sustainability at the Heart of Our Work

Last year, as we completed our 2021-2026 Business Plan, we wanted to review every aspect of the charity’s activity in the context of the climate emergency. But the more research we did, the more complicated it became. Every toolkit seemed to be pages and pages long and the multitude of regional, national and international networks impossible to keep up with.  

Some of the team had attended an event called the Business Case for Sustainability run by Tevi back in December 2019. They heard from Mark Roberts at Conscious Creatives and his approach had struck a chordWorking for a values-led charity, they liked his focus on organisational values and how to align these interactions with global sustainability best practice. We decided to get in touchWe took advice from Mark at key points in the process of reviewing our business plan.  

A wooden placard bearing a black poster with a painting of the globe on it reading 'ONE WORLD'.

Here are the 10 things we did to put sustainability at the heart of all our work: 

1. We started with our values and purpose. We looked at our strengths and our assets. We reflected on the needs of our stakeholders and considered sustainability in the context of all of these things, so that our commitment to positive outcomes for people and planet would feel totally aligned with our core work.

2. We looked for a framework that would help us to be part of a broader movement, we used the UN Global Goals to provide the structure for our new business plan. We identified which of the goals most closely aligned with our values, purpose and strengths and identified 10 of the 17 which we would focus on (possibly too many – we’ll review this over the next 12 months to see if a tighter focus on fewer goals would be more impactful).A graphic showing 18 different coloured squares in 3 rows. At the top is the United Nations Logo and 'Sustainable Development GOALS'. Each square contains a different icon e.g. a book or bowl of food relating to the goal it represents.

3. We completed an audit using the B Impact Assessment tool. We used this tool because we wanted to look at more than just our carbon footprint – we wanted to understand our impact on our employees, community, environment and network. Although it’s designed for the private sector, as a charity we were still able to draw some useful conclusions from it.

4. With help from Conscious Creatives we captured baseline data on our existing carbon footprint.

5. Using the results of the B Impact Assessment and the carbon footprint baseline we were able to establish annual sustainability targets, now part of our business plan and tracked by our board at every board meeting.

6.We connected with the Carbon Neutral team at Cornwall Council, who presented their action plan to the whole team and have continued to advise and support us. 

A Powerpoint Slide labelled 'Cornwall Council' and titled 'Complication and Complexity; Decision Making'. The image is of a doughnut graph showing the need for a balance of ecological and social changes to address the climate crisis.

An excerpt from a presentation delivered to the CMP team by Peter Lefort, Carbon Neutral Cornwall Sector and Partnerships Lead at Cornwall Council

7. We consulted with our stakeholders to understand their needs and what they already valued about us. This helped us to develop a plan with their needs in mind. Aligning with our stakeholders needs will help us maximise our impact.  

8. We looked at our theory of change and what makes us specialThis led us to focus on the opportunities to make positive change within the core activities we already offer.

9. We are reviewing our Procurement Policy to ensure the products and services we buy are sourced and managed with sustainability principles in mind. We’re excited about the growing B Local community in Cornwall and what this means for our ability to work with liked minded companies. 

10. And all team members are in the process of completing their individual objectives to ensure that sustainability is part of every role. 

We’re not doing everything all at once. We are on path to be carbon zero by 2030 and we still have plenty to learn. But it feels good to have developed an approach that fits. 

If you work for a charity or cultural organization, we’d love to learn about your approach too.  


Emmie Kell, CMP CEO

Emmie works Monday to Friday and can be contacted at emmie@cornwallmuseumspartnership.org.uk.

For monthly updates about our work and the museums sector across Cornwall, sign up to our newsletter here.

The wAVE Impact Report: a Report on Immersive Technology Developed for Cornish Museums

The wAVE Project recently released their 2021 Impact Report, an in-depth report covering its partners, case studies, achievements and objectives for the future. The wAVE (AVE = Augmented and Virtual Experiences) Project is funded by the Coastal Communities Fund and has been developed by Cornwall Museums Partnership alongside Cornwall and the Isles of Scilly Local Enterprise Partnership and Falmouth University. The project is designed to develop new immersive reality experiences within the five participating communities of Bude, Looe, St Agnes, Porthcurno and the Isles of Scilly to support digital innovation and economic diversification and benefit the local economy. This interactive document, created by Ellie Smith the wAVE Digital Project Administrator Apprentice, has been designed to give an in-depth and engaging overview of the project for those interested in it’s development and impact, and can be viewed here.

A young woman in a brown shirt stands to the right of the image and wears a black VR headset.


The project’s public-facing name is Coastal Timetripping, which promotes the five immersive experiences and the coastal communities they are based in. wAVE is the internal name of the project and covers much more than just the immersive experiences. wAVE includes the various other smaller initiatives that have developed from the project, which the Impact Report goes into detail about – for instance the public tech introduction sessions, which are an important part of wAVE ’s aim to support digital innovation and improve skills in this sector in Cornwall. These sessions covered topics such as build a chatbot, AI and ethics, inclusive immersive, immersive marketing and 3D tours. Hannah Erwin, Visitor, Events and Marketing manager at Bodmin & Wenford Railway, said:

“It’s been great to discover how cutting-edge tech and digital can work for even a small organisation like ours. I also love the interactive, hands-on sessions, with practical tools and methods you can take way and use immediately”

The Impact report also includes the Museums Immersive Network (MIN), which started as an offshoot from wAVE but which CMP now intends to continue after the end of the project. MIN is an opportunity for both tech and museum experts to network and further realise the potential of immersive technology within the sector. MIN has organised two very successful online conferences with international attendance on museums and the use of immersive technology. Alongside MIN’s bi-annual webinars, it also hosts a series of podcasts called ‘Immersively, Museums’. For further information you can see our webpage on MIN here; follow MIN on Twitter or watch the January 2021 MIN webinar ‘Futureproofing Museums for a Post-Covid World: The Potential of Immersive Tech’ on the CMP YouTube Channel here. There is also a fortnightly newsletter with information about the project’s work, as well as the sector in general, which you can sign up to here.

A group of 4 people sit around a table on which sits some immersive technology. A fifth man kneels at the end of the table and is demonstrating how the technology works.


Regarding the immersive experiences, the Impact Report additionally has input from the museums involved in the project and their experiences of developing the immersive experiences and the training that is run alongside it. There are 5 museums involved: The Museum of Global Communications PK Porthcurno, Isles of Scilly Museum, St Agnes Museum, The Bude Castle Heritage Centre and Looe Old Guildhall Museum and Gaol. These museums have continued working alongside CMP even during the lockdown, Petra Stephenson from Looe Old Guidhall Museum and Gaol stated that for their volunteers ‘this has given them an essential focus in their lives’, and further commented:

“Our Trustees have been very impressed by how the whole project has given a newfound confidence to many of our volunteers… most importantly the whole project has given the museum a new vision and the ability to share new stories in a very innovative way.”

A woman dressed in black sits in a red chair and looks around her wearing a grey VR headset.


Finally, the report also covers the future goals and priorities of the wAVE project, based on previous learnings and projections for the future. This includes the Museums Immersive Network but also other projects such as ‘New Ways of Navigating Audio Archives’ which we hope to provide more information on in the coming months.


– Magali Guastalegnanne, wAVE Digital Marketing Intern


You can also find out more on the Coastal Timetripping website.