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

De/construction sites: Romans and the digital playground

The Roman world as attested to archaeologically and as interacted with today has its expression in a great many computational and other media. The place of visualisation within this has been paramount. This paper argues that the process of digitally constructing the Roman world and the exploration of the resultant models are useful methods for interpretation and influential factors in the creation of a popular Roman aesthetic. Furthermore, it suggests ways in which novel computational techniques enable the systematic deconstruction of such models, in turn re-purposing the many extant representations of Roman architecture and material culture

VR cooperative environments for the interpretation and reconstruction of the archaeological landscape

[ES] The Internet 2.0 has diffused a new approach enhancing creativity, multimedia communication, information sharing, cooperation: millions of people in the world are expressing the will to interconnect, co-create digital contents and share experience in the cyberspace. The possibility to develop complex dynamics of interaction inside the virtual domain are determining new scenarios in the field of cultural transmission. In this paper two case studies will be presented: the “Integrated Technologies of robotics and virtual environment in archaeology” project (supported by the Italian Ministry of Research), and the “Virtual Rome” project, two virtual collaborative environments in the web for the interpretation, reconstruction and 3D exploration of archaeological contexts.Pietroni, E.; Pescarin, S. (2010). VR cooperative environments for the interpretation and reconstruction of the archaeological landscape. Virtual Archaeology Review. 1(2):25-29. https://doi.org/10.4995/var.2010.4680OJS252912ANNUNZIATO M., BONINI E., PIERUCCI P.,, PIETRONI E. (2008): "Cultural mirrors: an epistemological approach to artificial life for cultural heritage communication", in Proceedings DMACH 2008, Digital Media and its Applications in Cultural Heritage, 3-6 November, 2008, University of Petra, Amman, Jordan.FORTE M. e AA.VV (2008). "La Villa di Livia, un percorso di ricerca di archeologia virtuale", ed. Erma di Bretschneider, Roma.FORTE M, PESCARIN S., PIETRONI E. (2005): "The Appia Antica Project". In The reconstruction of Archaeological Landscapes through Digital Technologies, Forte M. Ed., BAR Int. Series.pp. 79-92GEROSA M. (2006): Second Life, Meltemi, RomeJONES Q. (2003): "Applying Cyber-Archaeology", in Proceedings of the eighth European Conference on Computer-Supported Cooperative Work, Helsinki, Finland, pp. 41-60. http://www.ecscw.org/2003/003Jones_ecscw03.pdfMATURANA H., VARELA F. (1980): "Autopoiesis and Cognition: The Realization of the Living", in: Boston Studies in the Philosophy of Science, ed. by Robert S. Cohen and Marx W. Wartofsky, vol. 42, Dordecht (Holland): D. Reidel Publishing Co. http://dx.doi.org/10.1007/978-94-009-8947-4PESCARIN S. ET ALII (2008): "Back to 2nd AD". In VAST 2008 Proceedings., Braga Portugal, 2008SCHROEDER R. (1997): "Networked Worlds: Social Aspects of Multi-User Virtual Reality Technology", in Sociological Research Online, vol. 2, no. 4. http://www.socresonline.org.uk/2/4/5.html http://dx.doi.org/10.5153/sro.291ZEKI S. (1999): "Inner Vision". Oxford Univ. Press

Virtual Valcamonica: collaborative exploration of prehistoric petroglyphs and their surrounding environment in multi-user virtual reality

In this paper, we present a novel, multi-user, virtual reality environment for the interactive, collaborative 3D analysis of large 3D scans and the technical advancements that were necessary to build it: a multi-view rendering system for large 3D point clouds, a suitable display infrastructure and a suite of collaborative 3D interaction techniques. The cultural heritage site of Valcamonica in Italy with its large collection of prehistoric rock-art served as an exemplary use case for evaluation. The results show that our output-sensitive level-of-detail rendering system is capable of visualizing a 3D dataset with an aggregate size of more than 14 billion points at interactive frame rates. The system design in this exemplar application results from close exchange with a small group of potential users: archaeologists with expertise in rock-art and allows them to explore the prehistoric art and its spatial context with highly realistic appearance. A set of dedicated interaction techniques was developed to facilitate collaborative visual analysis. A multi-display workspace supports the immediate comparison of geographically distributed artifacts. An expert review of the final demonstrator confirmed the potential for added value in rock-art research and the usability of our collaborative interaction techniques

Cyber-Archaeology: Notes on the simulation of the past

[EN] Thirteen years after the book “Virtual Archaeology” (Forte, 1996, 97) it is time to re-discuss the definition, the key concepts and some new trends and applications. The paper discusses the introduction of the term “cyber-archaeology” in relation with the simulation process deriving from the inter-connected and multivocal feedback between users/actors and virtual ecosystems. In this new context of cyber worlds, it is more appropriate to talk about simulation of the past rather than reconstruction of the past. The multivocality of the simulation opens new perspectives in the interpretation process, not imposing the final reconstruction, but suggesting, evocating, simulating multiple output, not “the past” but a potential past. New epistemological models of cyber archaeology have to be investigated: what happens in a immersive environment of virtual archaeology where every user is “embodied” in the cyber space? The ontology of archaeological information, or the cybernetics of archaeology, refers to all the interconnective relationships which the datum produces, the code of transmission, and its transmittability. Because it depends on interrelationships, by its very nature information cannot be neutral with respect to how it is processed and perceived. It follows that the process of knowledge and communication have to be unified and represented by a single vector. 3D information is regarded as the core of the knowledge process, because it creates feedback, then cybernetic difference, among the interactor, the scientist and the ecosystem. It is argued that Virtual Reality (both offline and online) represents a possible ecosystem, which is able to host top-down and bottom-up processes of knowledge and communication. In these terms, the past is generated and coded by “a simulation process”. Thus, from the first phases of data acquisition in the field, the technical methodologies and technologies that we use, influence in a decisive way all the subsequent phases of interpretation and communication. In the light of these considerations, what is the relationship between information and representation? How much information does a digital model contain? What sorts of and how many ontologies ought to be chosen to permit an acceptable transmittability? Indeed, our Archaeological communication ought to be understood as a process of validation of the entire cognitive process of understanding and not as a simple addendum to research, or as a dispensable compendium of data.[ES] Trece años después de la publicación del libro "Arqueología virtual" (Forte, 1996, 97) es el momento de volver a discutir sobre la definición, los conceptos clave y algunas nuevas tendencias y aplicaciones de la arqueología virtual. El presente documento analiza la introducción del término "cyber-arqueología" en relación con el proceso de simulación derivado de la interconexión y la retroalimentación multivocal y entre los usuarios / actores y ecosistemas virtuales. En este nuevo contexto de mundos cibernéticos, es más adecuado hablar de simulación del pasado que de reconstrucción del pasado. La multivocalidad de la simulación abre nuevas perspectivas en el proceso de interpretación, no imponiendo la última reconstrucción, sino sugiriendo, evocando, simulando múltiples resultados, y no "el pasado", sino un potencial pasado. Nuevos modelos epistemológicos de la arqueología cibernética deben ser investigados: Que ocurre en un entorno inmersivo de arqueología virtual cuando cada usuario es "materializado" en el espacio cibernético? La ontología de la información arqueológica, o la cibernética de la arqueología, se refiere a la interconectividad de todas las relaciones que produce el dato, el código de envío, y su transmisibilidad. Porque depende de las interrelaciones, por su propia naturaleza, la información no puede ser neutral con respecto a la forma en que se procesa y percibe. De ello se deduce que el proceso de conocimiento y la comunicación han de ser unificadas y representadas por un único vector. La información 3D se considera como el núcleo del proceso de conocimiento, porque propicia la retroalimentación, entre el usuario, el científico y el ecosistema. Se argumenta que la Realidad Virtual (tanto fuera de línea como en línea) representa un posible ecosistema, que es capaz de ser anfitrión de los procesos de conocimiento y comunicación tanto de arriba a abajo como de abajo a arriba. En estos términos, el pasado se genera y codifica por "un proceso de simulación". Así, desde las primeras fases de adquisición de datos sobre el terreno, las metodologías técnicas así como las tecnologías que usamos, influyen de manera decisiva en todas las fases de interpretación y comunicación. A la luz de estas consideraciones, ¿cuál es la relación entre la información y la representación? ¿Cuánta información quedará incluida en el modelo digital? ¿Qué clase y cuántas ontologías deberían ser elegidas para permitir una transmisibilidad aceptable? De hecho, la comunicación arqueológica debe ser entendida como una fase de validación de todo el proceso cognitivo de comprensión del conocimiento, y no como una simple adición a la investigación, o como un compendio de los datos prescindible.The Virtual Museum of the Ancient Via Flaminia was supported by Arcus spa and managed by CNR-ITABC (scientific direction) and National Roman Museum in RomeForte, M. (2011). Cyber-Archaeology: Notes on the simulation of the past. Virtual Archaeology Review. 2(4):7-18. https://doi.org/10.4995/var.2011.4543OJS71824ANTINUCCI, A., 2004, Comunicare il museo, Laterza, Roma, 2004.BAUDRILLARD J.. 1994, Simulacra and Simulation, Ann Arbor: University of Michigan Press, 1994.BATESON, 1967, "Cybernetic explanation", in SEM, 410.BATESON, 1972, Steps to an Ecology of Mind , San Francisco, Chandler Press.BATESON G., 1979, Mind and Nature. A Necessary Unit, Dutton, New York.BIOCCA F. 1997, The cyborg's dilemma: Progressive embodiment in virtual environments, Journal of Computer-Mediated Communication, vol. 3, n. 2, 1997. http://dx.doi.org/10.1111/j.1083-6101.1997.tb00070.x http://dx.doi.org/10.1109/ct.1997.617676DELEUZE G., GUATTARI, F., 1987, A Thousand Plateaus: Capitalism and Schizophrenia, University of Minnesota Press, 1987FORTE, M. 1997, (ed. by) Virtual Archaeology, (forward by Colin Renfrew) Thames & Hudson Ltd, 1997 (1st edition 1996, Milan).FORTE, M., 2000, About virtual archaeology: disorders, cognitive interactions and virtuality, in Barcelo J., Forte M., Sanders D., 2000 (eds.), Virtual reality in archaeology, Oxford, ArcheoPress (BAR International Series S 843), 247-263.FORTE M., 2003, Mindscape: ecological thinking, cyber-anthropology, and virtual archaeological landscapes, in "The reconstruction of Archaeological Landscapes through Digital Technologies" (eds. M.Forte, P.R.Williams), Proceedings of the 1st Italy-United States Workshop, Boston, Massachussets, USA, November 1-3, 2001, BAR International Series 1151, Oxford, 2002, 95-108.FORTE M., 2005, A Digital "Cyber" Protocol for the Reconstruction of the Archaeological Landscape: Virtual Reality and Mindscapes in Recording, Modeling and Visualization of Cultural Heritage (eds: E.Baltsavias, A.Gruen, L.Van Gool, M.Pateraki) Published by Taylor & Francis / Balkema ISBN 0 415 39208 X, 339-351, 2005.FORTE et alii, 2006; M.Forte, S.Pescarin, E.Pietroni, C.Rufa, 2006, Multiuser interaction in an archaeological landscape: the Flaminia Project, in (M.Forte, S.Campana, eds.by) From Space to Place, Proceedings of the 2nd International Conference on Remote Sensing in Archaeology, Rome, December 4-7, 2006, BAR International Series 1568, Archaeopress, Oxford, 2006, 189-196.FORTE, M, Pescarin, S. Pietroni, E., 2006, Transparency, interaction, communication and open source in Virtual Archaeology, in (M.Forte, S.Campana, eds.by) From Space to Place, Proceedings of the 2nd International Conference on Remote Sensing in Archaeology, Rome, December 4-7, 2006, BAR International Series 1568, Archaeopress, Oxford, 2006 535-540.FORTE, M., 2007, Ecological Cybernetics, Virtual Reality and Virtual Heritage, in "Theorizing Digital Cultural Heritage. A Critical Discourse" (Edited by Fiona Cameron and Sarah Kenderdine), MIT Press, Cambridge, MA, 389-407. http://dx.doi.org/10.7551/mitpress/9780262033534.003.0020FORTE M., 2008 (ed.), La Villa di Livia. Un percorso di ricerca di archeologia virtuale, L'Herma, Rome, 2008.GALLESE, V. 2005, Embodied simulation: From Neurons to Phenomenal Experience, "Phenomenology and the cognitive sciences", 4, 23-48. http://dx.doi.org/10.1007/s11097-005-4737-zGIBSON, J. J., 1999. Un approccio ecologico alla percezione visiva (Il Mulino: Bologna).INGOLD, T., 2000, The perception of the Enviroment. Essays in livelihood, dwelling and skill, London and New York, Routledge. http://dx.doi.org/10.4324/9780203466025KORZYBSKI A., 1941, Science and Sanity, Science Press, New York, 1941.MATURANA, H, Varela, F., 1980, Autopoiesis and Cognition: the Realization of the Living, Boston Studies in the philosophy of science, Cohen, Robert S., And Marx W. Wartofsky (eds.), vol. 42, Dordecht (Holland): D. Reidel Publishing Co., 1980. http://dx.doi.org/10.1007/978-94-009-8947-4MATURANA, H, Varela, F., 1992, The Tree of Knowledge: the Biological Roots of Human Understanding, Boston: Shambhala, 1987, (Revised Edition: same publisher, 1992).MELLET-D'HUART D., 2006, A Model of (En)Action to approach Embodiment: A Cornerstone for the Design of Virtual Environments for Learning, in Win W. & Hedley N., Eds. Journal of Virtual reality, special issue on education. Springer London. 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Archaeology of Digital Environments: Tools, Methods, and Approaches

Digital archaeologists use digital tools for conducting archaeological work, but their potential also lies in applying archaeological thinking and methods to understanding digital built environments (i.e., software) as contemporary examples of human settlement, use, and abandonment. This thesis argues for digital spaces as archaeological artifacts, sites, and landscapes that can be investigated in both traditional and non-traditional ways. At the core of my research is the fundamental argument that human-occupied digital spaces can be studied archaeologically with existing and modified theory, tools, and methods to reveal that human occupation and use of synthetic worlds is similar to how people behave in the natural world. Working digitally adds new avenues of investigation into human behavior in relation to the things people make, modify, and inhabit. In order to investigate this argument, the thesis focuses on three video game case studies, each using different kinds of archaeology specifically chosen to help understand the software environments being researched: 1) epigraphy, stylometry, and text analysis for the code-artifact of Colossal Cave Adventure; 2) photogrammetry, 3D printing, GIS mapping, phenomenology, and landscape archaeology within the designed, digital heritage virtual reality game-site of Skyrim VR; 3) actual survey and excavation of 30 heritage sites for a community of displaced human players in the synthetic landscape of No Man’s Sky. My conclusions include a blended approach to conducting future archaeological fieldwork in digital built environments, one that modifies traditional approaches to archaeological sites and material in a post/transhuman landscape. As humanity continues trending towards constant digital engagement, archaeologists need to be prepared to study how digital places are settled, used, and abandoned. This thesis takes a step in that direction using the vernacular of games as a starting point

Experiencing sense of place in virtual and physical Avebury.

This paper discusses the findings from a project to construct a simulation of Avebury henge, a Late Neolithic/ Early Bronze Age monument in SW Britain, in a 3D, virtual world environment. The aims of the study were to explore the archaeological research and interpretation necessary to plan and construct such a simulation in an interactive, online environment, to identify which aspects of visualisation and soundscape design appear to have the greatest impact upon users’ sense of place in the virtual simulation and to explore the experiences of a small group of users in the virtual simulation and the effects of those experiences upon their sense of place at the physical site. The findings from this project demonstrated that in undertaking a simulation of an ancient site, a core set of sources need to be selected to create the main parts of the simulation. There is often much debate in archaeological literature regarding the way in which archaeological findings are interpreted, and a different virtual Avebury would be constructed if different interpretations had been chosen. Any simulation of an ancient site should therefore clearly recognise and state the basis upon which it has been designed. The evaluation showed that responses to virtual environments, and the resulting effect upon responses to physical environments, are complex and personal, resulting in a range of experiences and perceptions, suggesting that the range of users’ experiences might be a more significant issue than attempting to find any general consensus on user reactions to simulated ancient sites

Digital Documentation and Reconstruction of an Ancient Maya Temple and Prototype of Internet GIS Database of Maya Architectur

This is a request for Level II Start-Up funding for an international project to develop and test a working prototype for a new platform for an online, searchable database that can bring together GIS maps, 3D models, and virtual environments for teaching and research. (The planning phase was funded by a Level I Start-Up Grant in 2009.) The prototype will employ existing digital collections on Maya architecture at the UNESCO World Heritage Site of Copan, Honduras and a highly-accurate, hybrid 3D model being developed by the project that will test and demonstrate the platform???s capabilities. Art historians and archaeologists from the University of New Mexico (UNM) and the Honduran Institute of Anthropology and History will work with computer experts from ETH Zurich, FBK Trento, and the University of California to design this online tool

Phenomenology and phenomenography in virtual worlds: an example from archaeology

This chapter discusses a project to construct a simulation of Avebury Henge, a Late Neolithic/Early Bronze Age monument in the SW of the U.K., in a 3D, virtual world environment, and to use phenomenological and phenomenographic methods for its evaluation. We explore notions of place and digital being in virtual worlds, and the potential of these methods in understanding virtual worlds and their applicability to evaluations of virtual archaeology. The phenomenological approach to archaeology tends to stress the importance of the archaeologists’ senses, working through their physical presence in a landscape to enable an appreciation of the materiality, or physicality, of an environment. In this study, phenomenology was applied to the experience of a virtual environment where sight and hearing senses are restricted, and the senses of smell and touch are deprived altogether. So, the immersion of all the body’s senses in a landscape, to the exclusion of all other experiences, cannot be achieved. We argue that the phenomenological narrative describing one author’s experiences in Virtual Avebury (VA) has demonstrated that experiencing a landscape from an archaeological point of view can be achieved in a virtual environment, but that the nature of the experience is different to that in the physical world. The ability to experiment with designing landscapes, to change environmental aspects in simulations of places that could not otherwise be experienced, and to meet with others in those places to discuss, explore and experience them together, has the potential to offer a new practice of phenomenology in archaeology, and in virtual worlds research. The phenomenographic method used to explore the range of experiences of members of a small evaluation group found that five categories of experience emerged. These were sense of place in VA, recall of VA at Avebury, sense of place in Avebury, effects of sounds and soundscapes and a sense of Avebury’s original purpose. Based upon these findings, we make recommendations for wider research in phenomenological methods of enquiry in virtual worlds

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