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The Museum, according to the ICOM’s (International Council of Museums) definition, is a non-profit, permanent institution [...] which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment (ICOM, 2007). Its main function is therefore to communicate the research results to the public and the way to communicate must meet the expectations of the reference audience, using the most appropriate tools available. During the last decades of 20th century, there has been a substantial change in this role, according to the evolution of culture, literacy and society. Hence, over the last decades, the museum’s focus has shifted from the aesthetic value of museum artifacts to the historical and artistic information they encompass (Hooper-Greenhill, 2000), while the museums’ role has changed from a mere "container" of cultural objects to a "narrative space" able to explain, describe, and revive the historical material in order to attract and entertain visitors. These changes require creating new exhibits, able to tell stories about the objects, enabling visitors to construct semantic meanings around them (Hoptman, 1992). The objective that museums pursue is reflected by the concept of Edutainment, Education + Entertainment. Nowadays, visitors are not satisfied with “learning something”, but would rather engage in an “experience of learning”, or “learning for fun” (Packer, 2006). Hands-on and interactive exhibitions allow their visitors to interact with archive material, to learn while they play with it (Caulton, 2002) and to transform them from passive viewers and readers into active actors and players (Wojciechowski et al., 2004). As a result, curators are faced with several new problems, like the need to communicate with people from different age groups and different cultural backgrounds, the change in people attitude due to the massive and unexpected diffusion of technology into everyday life, the need to design the visit by a personal point of view, leading to a high level of customization that allows visitors to shape their path according to their characteristics and interests. Recent advances in digital technologies offer archivists and exhibit designers new interesting and captivating ways to present and disseminate cultural objects, meeting the needs of personalization and interactivity requested by visitors (Addison, 2000). In particular, Virtual Reality (VR) and Mixed Reality (MR) allow creating novel exhibition paradigms, rich in those informative and emotional contents often missing in the classic

The Role of Computer Games Industry and Open Source Philosophy in the Creation of Affordable Virtual Heritage Solutions