FEATURE personal experience more broadly and fundamentally conceived, may risk the production of displays which inhibit and even preclude such affective responses”[1]. The “information over object” approach has influenced the use of digital technology in cultural heritage ever since computers started to populate the exhibit floor. The intent has been to provide indepth information and to support different learning styles. Indeed, visitors spend more time on site if technology is available, but a close observation shows friction between the technology and the heritage context. To begin with, the carefully prepared content is rarely looked at in full; interactive games are often for a single user while others queue; and visiting together can involve sharing the earplugs of the audio guide, one each.

Whatever the form of heritage [2], some physicality and materiality is usually more conducive to social enjoyment and sharing. Science museums exploit tangible and bodily interaction as an effective way to engage visitors to explore concepts, ideas, and objects. More traditional museums instead tend to showcase multiple historic or artistic artifacts, and “handling sessions” are special events limited to objects that can sustain being touched. Indeed, preservation concerns may prevent heritage artifacts from being experienced in a tangible way, although the importance of tangibility and physicality is recognized: The physical qualities of an object have been conveyed to visitors via haptic devices and via extremely faithful reproductions, or through “open drawer” displays where visitors physically reveal parts of an exhibit, making the gesture meaningful in the process of discovery. Sites such as historic buildings