Interpretation at the controller's edge: designing graphical user interfaces for the digital publication of the excavations at Gabii (Italy)

This paper discusses the authors’ approach to designing an interface for the Gabii Project’s digital volumes that attempts to fuse elements of traditional synthetic publications and site reports with rich digital datasets. Archaeology, and classical archaeology in particular, has long engaged with questions of the formation and lived experience of towns and cities. Such studies might draw on evidence of local topography, the arrangement of the built environment, and the placement of architectural details, monuments and inscriptions (e.g. Johnson and Millett 2012). Fundamental to the continued development of these studies is the growing body of evidence emerging from new excavations. Digital techniques for recording evidence “on the ground,” notably SFM (structure from motion aka close range photogrammetry) for the creation of detailed 3D models and for scene-level modeling in 3D have advanced rapidly in recent years. These parallel developments have opened the door for approaches to the study of the creation and experience of urban space driven by a combination of scene-level reconstruction models (van Roode et al. 2012, Paliou et al. 2011, Paliou 2013) explicitly combined with detailed SFM or scanning based 3D models representing stratigraphic evidence. It is essential to understand the subtle but crucial impact of the design of the user interface on the interpretation of these models. In this paper we focus on the impact of design choices for the user interface, and make connections between design choices and the broader discourse in archaeological theory surrounding the practice of the creation and consumption of archaeological knowledge. As a case in point we take the prototype interface being developed within the Gabii Project for the publication of the Tincu House. In discussing our own evolving practices in engagement with the archaeological record created at Gabii, we highlight some of the challenges of undertaking theoretically-situated user interface design, and their implications for the publication and study of archaeological materials

The Mesoamerican Corpus of Formative Period Art and Writing

This project explores the origins and development of the first writing in the New World by constructing a comprehensive database of Formative period, 1500-400 BCE, iconography and a suite of database-driven digital tools. In collaboration with two of the largest repositories of Formative period Mesoamerican art in Mexico, the project integrates the work of archaeologists, art historians, and scientific computing specialists to plan and begin the production of a database, digital assets, and visual search software that permit the visualization of spatial, chronological, and contextual relationships among iconographic and archaeological datasets. These resources will eventually support mobile and web based applications that allow for the search, comparison, and analysis of a corpus of material currently only partially documented. The start-up phase will generate a functional prototype database, project website, wireframe user interfaces, and a report summarizing project development

Digital modes of interpretation of Pictish sculpture

Funding: Scottish Funding Council.Cultural heritage is no longer something that can only be experienced in a museum exhibition. Digital tools have facilitated the distribution of material relating to artefacts, both in its representation and in presenting its context. This paper describes how digital modelling techniques can be synthesised with 3D scanning to digitally restore artefacts and create authentic replicas of their original states. The digital artefacts can then be used to assist the process of interpreting these artefacts in diverse forms, both in the museum and outside the museum. The study looks at Pictish sculpture as a case-study, restoring 3D models of two stones, and creating varying opportunities for their interpretation. As part of this study, new interactive tools, a virtual reality environment, and a virtual tour are built to assist immersive interpretation of the Pictish sculpture. The application of these digitised objects serves as an opportunity for informal learning. These applications were evaluated during a drop-in session. Findings show that all participants enjoyed the immersive mode of learning with 89% also showing a willingness to learn more about the topic.Publisher PDFPeer reviewe

City-Scaled Digital Documentation: A Comparative Analysis of Digital Documentation Technologies for Recording Architectural Heritage

The historic preservation field, enabled by advances in technology, has demonstrated an increased interest in digitizing cultural heritage sites and historic structures. Increases in software capabilities as well as greater affordability has fostered augmented use of digital documentation technologies for architectural heritage applications. Literature establishes four prominent categories of digital documentation tools for preservation: laser scanning, photogrammetry, multimedia geographic information systems (GIS) and three-dimensional modeling. Thoroughly explored through published case studies, the documentation techniques for recording heritage are most often integrated. Scholarly literature does not provide a parallel comparison of the four technologies. A comparative analysis of the four techniques, as presented in this thesis, makes it possible for cities to understand the most applicable technique for their preservation objectives. The thesis analyzes four cases studies that employ applications of the technologies: New Orleans Laser Scanning, University of Maryland Photogrammetry, Historic Columbia Maps Project and the Virtual Historic Savannah Project. Following this, the thesis undertakes a trial of each documentation technology – laser scanning, photogrammetry, multimedia GIS and three-dimensional modeling – utilizing a block on Church Street between Queen and Chalmers streets within the Charleston Historic District. The apparent outcomes of each of the four techniques is analyzed according to a series of parameters including: audience, application, efficacy in recordation, refinement, expertise required, manageability of the product, labor intensity and necessary institutional capacity. A concluding matrix quantifies the capability of each of the technologies in terms of the parameters. This method furnishes a parallel comparison of the techniques and their efficacy in architectural heritage documentation within mid-sized cities

Three-dimensional scanning as a means of archiving sculptures

Thesis (M. Tech. Design technology) -- Central University of Technology, Free State, 2011This dissertation outlines a procedural scanning process using the portable ZCorporation ZScanner® 700 and provides an overview of the developments surrounding 3D scanning technologies; specifically their application for archiving Cultural Heritage sites and projects. The procedural scanning process is structured around the identification of 3D data recording variables applicable to the digital archiving of an art museum’s collection of sculptures. The outlining of a procedural 3D scanning environment supports the developing technology of 3D digital archiving in view of artefact preservation and interactive digital accessibility. Presented in this paper are several case studies that record 3D scanning variables such as texture, scale, surface detail, light and data conversion applicable to varied sculptural surfaces and form. Emphasis is placed on the procedural documentation and the anomalies associated with the physical object, equipment used, and the scanning environment. In support of the above, the Cultural Heritage projects that are analyzed prove that 3D portable scanning could provide digital longevity and access to previously inaccessible arenas for a diverse range of digital data archiving infrastructures. The development of 3D data acquisition via scanning, CAD modelling and 2D to 3D data file conversion technologies as well as the aesthetic effect and standards of digital archiving in terms of the artwork – viewer relationship and international practices or criterions of 3D digitizing are analysed. These projects indicate the significant use of optical 3D scanning techniques and their employ on renowned historical artefacts thus emphasizing their importance, safety and effectiveness. The aim with this research is to establish that the innovation and future implications of 3D scanning could be instrumental to future technological advancement in an interdisciplinary capacity to further data capture and processing in various Cultural Heritage diagnostic applications

(Re)Coding the Past for the Future.

In light of increasing social unrest and wars around the globe, a growing number of not-for-profit organizations and commercial businesses are trying to fill the gaps that befall cultural heritage sites due to bomb strikes and looting. 3D scanning and printing are among the main vehicles to restore cultural heritage by generating detailed copies of an artifact, building or even site. In terms of accessibility and preservation there are undeniable benefits, but in what ways do these technologies affect cultural heritage politics? While commercial businesses profit from selling copyrighted files, or by providing restricted access, several artists’ initiatives try to counter these practices. Even though they use similar technology, their aim is to empower people by giving them control over their lost heritage. These ‘decolonial’ practices signify a desire to overcome or resist a colonial conditioning, favoring collaboration and freely sharing over individual and/or monetary gains. In the process, such examples challenge the conventional meaning of value, which is dictated by the market and based on copyrights around authorship and ownership. Instead what is valued and becomes valuable is belonging to a wider community in which control over (re)use is embedded in the network