2,376 research outputs found

    Educational Virtual Reality Visualisations of Heritage Sites.

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    This paper discusses the use of games engines to create virtual heritage applications. The use of 3D software for cultural or heritage applications is discussed with reference to the capabilities and potential of games engines. The contribution of students from Bournemouth University to the New Forest Heritage Mapping project through the creation of interactive virtual reality visualisations of historic landscapes is described. The creation and evaluation of three different applications representing three alternative interaction styles are discussed. The first does not indicate where information can be found, the second uses visible cues and the third implements an objective marker system

    Imagining technology-enhanced learning with heritage artefacts: teacher-perceived potential of 2D and 3D heritage site visualisations

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    Background: There is much to be realised in the educational potential of national and world heritage sites. Such sites need to be supported in sharing their resources with a wide and international public, especially within formal education. Two-dimensional (2D) and three-dimensional (3D) heritage site visualisations could serve this need. Our study focuses on the teacher-perceived possibilities and benefits for education around such visualisations. Purpose: We describe how a group of UK teachers perceive the potential of cross-curricular learning that could arise from an Italian world heritage site. The teachers commented on 2D visualisations of artefacts from this site, as well as the design of a 3D immersive environment to serve educational purposes. We consider as follows: (1) how the cross-curricular teaching potential of such resources is perceived, and (2) what design features of a 3D immersive environment teachers suggest are needed for educational explorations. Sample: We recruited 10 teachers from the Midlands region of the UK and carried out semi-structured interviews. Methods: Interviews were transcribed and a thematic analysis applied to the conversations. Questioning was grounded in the examination of 2D and 3D visual resources. This provoked cross-curricular and educational design thinking. Results: Teacher responses highlighted a wide range of cross-curricular possibilities. However, they expressed a more ‘assimilative’ than ‘accommodative’ approach when relating resources to the curriculum. Such ‘assimilation’ involved seeing the site artefacts as raw material for more instrumental ‘curriculum activities’ (e.g. within art and design, geography, maths or literacy) rather than a more accommodative approach whereby curricular disciplines were exercised to make new meaning from the artefacts. In relation to 3D technology design, most teachers highlighted three technology features that would render it well matched to educational practice and three educational benefits over non-3D immersive environments. Conclusions: Teachers can easily imagine a rich range of opportunities to utilise 2D and 3D heritage site artefacts within the curriculum. However, the largely assimilative nature of this cross-curricular appropriation suggests the value of providing more guidance and support to teachers in the interpretation and application of artefacts. Their design suggestions can usefully inform construction of educational features within 3D immersive technologies that support heritage site experiences

    Desire Lines: Open Educational Collections, Memory and the Social Machine

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    This paper delineates the initial ideas around the development of the Co-Curate North East project. The idea of computerised machines which have a social use and impact was central to the development of the project. The project was designed with and for schools and communities as a digital platform which would collect and aggregate ‘memory’ resources and collections around local area studies and social identity. It was a co-curation process supported by museums and curators which was about the ‘meshwork’ between ‘official’ and ‘unofficial’ archives and collections and the ways in which materials generated from within the schools and community groups could themselves be re-narrated and exhibited online as part of self-organised learning experiences. This paper looks at initial ideas of social machines and the ways in machines can be used in identity and memory studies. It examines ideas of navigation and visualisation of data and concludes with some initial findings from the early stages of the project about the potential for machines and educational work

    (Re)presenting heritage: laser scanning and 3D visualisations for cultural resilience and community engagement.

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    Cultural heritage is increasingly being viewed as an economic asset for geographic areas who aim to capitalise in the surge in interest in local history and heritage tourism from members of the public. Digital technologies have developed that facilitate new forms of engagement with heritage and allow local areas to showcase their history, potentially broadening interest to a wider audience, thus acting as a driver for cultural and economic resilience. The research presented in this paper explores this through interdisciplinary research utilising laser scanning and visualisation in combination with social research in Elgin. 3D data capture technologies were used to develop and test 3D data visualisations and protocols through which the urban built heritage can be digitally recorded. The main focus of this paper surrounds the application and perceptions of these technologies. Findings suggest that the primary driver for cultural heritage developments was economic (with an emphasis on tourism) but further benefits and key factors of community engagement, social learning and cultural resilience were also reported. Stakeholder engagement and partnership working, in particular, were identified as critical factors of success. The findings from the community engagement events demonstrate that laser scanning and visualisation provide a novel and engaging mechanism for co-producing heritage assets. There is a high level of public interest in such technologies and users who engaged with these models reported that they gained new perspectives (including spatial and temporal perspectives) on the built heritage of the area

    Marco de trabajo de integración y flujo de trabajo para la visualización virtual del patrimonio cultural. Revisita del montículo Çukuriçi Höyük, Turquía

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    [EN] This article sets a framework for computer-based visualisations of cultural heritage sites. The project focuses on a workflow for a visualisation illustrated on a specific solution for the site of Çukuriçi Höyük, a tell settlement in Turkey. With the virtual presentation, an interdisciplinary research group tries to offer complex scientific results to the general public as well as to experts. The team utilised data acquisition and communication techniques, interpretative approaches, and dissemination methods. The three-dimensional (3D) outcome is based on a large amount of scientific data, usually available only via analogue or digital publications for a specialised audience. The work focused on constructed and personal authenticity to reach the viewer’s feelings. As an interpretative narrative, the daily lives of the inhabitants were selected. A communication plan was constructed, and a video animation with narration and a musical background was selected as the most appropriate communication tool. The movie was divided into four chapters (Introduction, Neolithic Period, Chalcolithic Period and Early Bronze Age Period). A separate webpage was designed to provide additional information when the video is viewed online. The webpage was divided into tabs that describe each chapter and three additional topics (Visualisation Process, Further Reading, and Credits). The video was shared in different settings, e.g. at public talks and on social media. The process resulted in a complex workflow that consists of several stages: data acquisition, first interpretation, 3D model creation, communication plan, second interpretation, 3D model adjustment, and dissemination output. Each stage of the workflow serves as an example to show the types of nodes these parts can include. The result is a flexible framework with predefined process stages, which can be re-used for similar projects.[ES] Este artículo define un marco de trabajo de visualizaciones por ordenador de sitios patrimoniales. El proyecto se centra en un flujo de trabajo ilustrado por una solución específica de visualización del sitio de Çukuriçi Höyük, un asentamiento sobre un montículo en Turquía. Con la presentación virtual, un grupo de investigación interdisciplinar intenta ofrecer resultados científicos complejos al público en general, así como a los expertos. El equipo utilizó captura de datos y técnicas de comunicación, así como enfoques interpretativos y métodos de difusión. El resultado tridimensional (3D) está basado en una gran cantidad de datos científicos, normalmente disponibles sólo a través de publicaciones analógicas o digitales orientadas a una audiencia especializada. El trabajo se centró en la construcción y la autenticidad personal para alcanzar al espectador a nivel emocional. Como narrativa interpretativa, se seleccionaró la vida diaria de los habitantes. Se construyó un plan de comunicación y se eligió una animación de vídeo con narración y musica de fondo como la herramienta de comunicación más apropiada. La película se dividió en cuatro capítulos (Introducción, Período Neolítico, Período Calcolítico y Período de la Edad de Bronce Temprano). Se diseñó una página web separada para proporcionar información adicional cuando el video se muestra en línea. La página web se dividió en pestañas que describen cada capítulo y tres temas adicionales (Proceso de visualización, Lectura adicional y Créditos). El vídeo se compartió en diferentes entornos, tales como charlas públicas y en redes sociales. El proceso produjo un complejo flujo de trabajo que consta de varias etapas: captura de datos, primera interpretación, creación del modelo 3D, plan de comunicación, segunda interpretación, ajuste del modelo 3D y difusión. Cada etapa del flujo de trabajo sirve de ejemplo para mostrar los tipos de nodos que estas partes pueden incluir. El resultado es un marco de trabajo flexible con etapas de proceso predefinidas, que pueden reutilizarse en proyectos similares.Lužnik-Jancsary, N.; Horejs, B.; Klein, M.; Schwall, C. (2020). Integration and workflow framework for virtual visualisation of cultural heritage. Revisiting the tell of Çukuriçi Höyük, Turkey. Virtual Archaeology Review. 11(23):63-74. https://doi.org/10.4995/var.2020.13086OJS6374112316th General Assembly of ICOMOS. (2008). ICOMOS Charter for the Interpretation and Presentation of Cultural Heritage Sites. International Journal of Cultural Property, 15(4), 377-383. https://doi.org/10.1017/S0940739108080417Andrade, J. G., & Dias, P. (2020). A phygital approach to cultural heritage: augmented reality at Regaleira. Virtual Archaeology Review, 11(22), 15. https://doi.org/10.4995/var.2020.11663Batarda Fernandes, A. (2018). "But will there be visitors?" 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Les cases de la catedral (Tortosa) and the protohistorical settlement of la Cella (Salou), Tarragona. Virtual Archaeology Review, 9(19), 102-113. https://doi.org/10.4995/VAR.2018.9754Davis, E. T., Scott, K., Pair, J., Hodges, L. F., & Oliverio, J. (1999). Can Audio Enhance Visual Perception and Performance in a Virtual Environment? Proceedings of the Human Factors and Ergonomics Society Annual Meeting, 43(22), 1197-1201. https://doi.org/10.1177/154193129904302206Denard, H. (Ed.). (2009). The London Charter for the computer-based visualisation of cultural heritage. http://www.londoncharter.org/fileadmin/templates/main/docs/london_charter_2_1_en.pdfDerde, W., & Ludwig, T. (2016). Heritage Interpretation. In G. Tilkin (Ed.), Professional Development in Heritage Interpretation - Manual (pp. 10-20). Landcommanderij Alden Biesen. http://www.interpret-europe.net/fileadmin/Documents/projects/InHerit/Manual-InHerit-EN.pdfFurukawa, Y., Curless, B., Seitz, S. M., & Szeliski, R. (2009). Reconstructing building interiors from images. 2009 IEEE 12th International Conference on Computer Vision, 80-87. https://doi.org/10.1109/ICCV.2009.5459145Furukawa, Y., Curless, B., Seitz, S. M., & Szeliski, R. (2010). Towards Internet-scale Multi-view Stereo. 2010 IEEE Computer Society Conference on Computer Vision and Pattern Recognition, 1434-1441. https://doi.org/10.1109/CVPR.2010.5539802Galik, A. (2013). Çukuriçi Höyük Zooarchaeology Data. Çukuriçi Höyük Zooarchaeology. https://doi.org/10.6078/M7RF5RZ7Goldstein, A. (1980). Thrills in response to music and other stimuli. Physiological Psychology, 8(1), 126-129. https://doi.org/10.3758/BF03326460Ham, S. H., Carter, J., Beck, L., Cable, T., & Ward, C. (2013). Conversations: Tilden's fifth principle. Journal of Interpretation Research, 18(1), 97-104.Hermon, S. (2008). 3D Modelling and Virtual Reality for the Archaeological Research and Museum Communication of Cultural Heritage. In I. Oberländer-Târnoveanu (Ed.), Museum and the Internet. Presenting Cultural Heritage Resources On-line. Selected Papers from the International Summer Course in Buşteni, Romania, 20th - 26th of September, 2004 (pp. 57-72). Arcaeolingua. https://www.academia.edu/285879/3D_Modelling_and_Virtual_Reality_for_the_Archaeological_Research_and_Museum_Communication_of_Cultural_HeritageHermon, S., & Niccoluci, F. (2018). Digital Authenticity and the London Charter principles. In Authenticity and cultural heritage in the age of 3D digital reproductions. (pp. 37-47). https://doi.org/https://doi.org/10.17863/CAM.27029Hill, S., & Cable, T. T. (2006). The Concept of Authenticity: Implications for Interpretation. Journal of Interpretation Research, 11(1), 55-65.Horejs, B. (2017). Çukuriçi Höyük 1. Anatolia and the Aegean from the 7th to the 3rd Millennium BC. In OREA 5. Austrian Academy of Sciences Press.Horejs, B., Galik, A., Thanheiser, U., & Wiesinger, S. (2011). Aktivitäten und Subsistenz in den Siedlungen des Çukuriçi Höyük. Der Forschungsstand nach den Ausgrabungen 2006-2009. Praehistorische Zeitschrift, 86(1), 31-66. https://doi.org/10.1515/pz.2011.003Howard, P. (2003). Heritage : management, interpretation, identity. Continuum International Publishing.Howland, M. D. (2018). 3D Recording in the Field: Style Without Substance? In Cyber-Archaeology and Grand Narratives (Issue 13, pp. 19-33). Springer International Publishing. https://doi.org/10.1007/978-3-319-65693-9_2Institute for Oriental and European Archaeology (OREA), & 7reasons Medien GmbH. (2016). Çukuriçi Höyük.The World Heritage Site through Time. https://defc.acdh.oeaw.ac.at/cukurici-movie/International Forum of Virtual Archaeology. (2011). Principles of Seville. International Principles of Virtual Archeology (p. 20). http://sevilleprinciples.com/Isenberg, T., Neumann, P., Carpendale, S., Sousa, M. C., & Jorge, J. A. (2006). Non-photorealistic rendering in context. Proceedings of the 3rd International Symposium on Non-Photorealistic Animation and Rendering - NPAR '06, 115-126. https://doi.org/10.1145/1124728.1124747Jones, S., Jeffrey, S., Maxwell, M., Hale, A., & Jones, C. (2018). 3D heritage visualisation and the negotiation of authenticity: the ACCORD project. International Journal of Heritage Studies, 24(4), 333-353. https://doi.org/10.1080/13527258.2017.1378905Kidd, J. (2011). Enacting engagement online: framing social media use for the museum. Information Technology & People, 24(1), 64-77. https://doi.org/10.1108/09593841111109422Knipping, M., Müllenhoff, M., & Brückner, H. (2008). Human induced landscape changes around Bafa Gölü (western Turkey). Vegetation History and Archaeobotany, 17(4), 365-380. https://doi.org/10.1007/s00334-007-0132-8Ludwig, T. (2015). The Interpretive Guide - Sharing Heritage with People (M. H. Glen (Ed.); 2nd ed.). Bildungswerk interpretation. http://www.interpret-europe.net/fileadmin/Documents/projects/HeriQ/the_interpretive_guide_2015_en.pdfLunenburg, F. C. (2010). Communication : The Process, Barriers, And Improving Effectiveness. Schooling, 1(1), 1-11. https://www.mcgill.ca/engage/files/engage/communication_lunenburg_2010.pdfLužnik, N., & Klein, M. (2016). Interdisciplinary workflow for Virtual Archaeology. Digital Heritage International Congress, Digital Heritage 2015, 177-180. https://doi.org/10.1109/DigitalHeritage.2015.7419481Lužnik Jancsary, N., Horejs, B., Ostmann, F., Schwall, C., & Klein, M. (2016). Documentation of the movie 'Çukuriçi Höyük. The World Heritage Site Through Time.' http://defc.digital-humanities.at/movie/Macnamara, J. (2009). The 21st Century Media (R)evolution. In The 21st Century Media (R)evolution (2nd ed.). Peter Lang US. https://doi.org/10.3726/b15339Mayer, R. E., & Anderson, R. B. (1992). 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    Virtual reality urban modelling - an overview

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    This paper offers an overview of the increasing use of Virtual Reality (VR) technologies for the simulation of urban environments. It provides a summary of cities worldwide where three-dimensional computer modelling is being utilised to aid urban planning. The study considers the need for a digital representation of cities and raises issues pertaining to advantages, barriers and ownership. A case study of a pilot project on the visualisation of Newcastle upon Tyne is examined to show an approach adopted for the representation of this city in North East England. The process of this visualisation is summarised and future research is outlined in relation to this city model

    Customising virtual globe tours to enhance community awareness of local landscape benefits

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    Our wellbeing depends upon the services provided by ecosystems and their components. Despite recent advances in academic understanding of ecosystem services, and consideration in UK national environmental policy, a greater awareness is needed at community and individual levels. Dynamic features of virtual globe applications have considerable potential for helping convey the multi-dimensional context of ecosystem services and promoting general awareness. In a case study targeting residents in a small urban fringe river catchment in Norfolk, UK, representatives from local authorities and responsible agencies collaborated with scientists to produce extensive customisation of virtual globes in this context. By implementing a virtual flight over the catchment, different views and scales are traversed to set the context for landscape features and ecosystem services. Characteristic sites, e.g. supplying cultural services, are displayed and relationships with the natural environment are explained using linked on-screen text. Implementation is cost-effective and described for practitioners in ecosystem and landscape management, who may be inexperienced in landscape visualisation. Supplied as three pre-packaged virtual tours, products are made available for download and are publicised at a variety of engagement events, including teaching events with schoolchildren. The tours have attracted public interest and generated positive feedback about improving knowledge of local natural assets. Schoolchildren show confidence with the interface, but supplementary problem-based activities can improve learning opportunities. The capacity of virtual globes to support more participatory involvement of the public in local ecosystem management may increase in the future, but such visualisations can already help promote community awareness of local landscape benefits
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