Share - Publish - Store - Preserve. Methodologies, Tools and Challenges for 3D Use in Social Sciences and Humanities

Through this White Paper, which gathers contributions from experts of 3D data as well as professionals concerned with the interoperability and sustainability of 3D research data, the PARTHENOS project aims at highlighting some of the current issues they have to face, with possible specific points according to the discipline, and potential practices and methodologies to deal with these issues. During the workshop, several tools to deal with these issues have been introduced and confronted with the participants experiences, this White Paper now intends to go further by also integrating participants feedbacks and suggestions of potential improvements. Therefore, even if the focus is put on specific tools, the main goal is to contribute to the development of standardized good practices related to the sharing, publication, storage and long-term preservation of 3D data

Métodos de representação virtual e visualização para informação arquitetónica e contextual em sítios arqueológicos

This work seeks to outline some guidelines in order to improve the use of 3D visualization applied to archaeological data of diverse nature and at different scales. One difficulty found in this process is related to the still frequent two-dimensional representation of the three-dimensional archaeological reality. Aware that the existence of data of two-dimensional nature is fundamental in the archaeological process and that they result, on the one hand, from the manual archaeological recording processes and, on the other hand, from the intense analysis and interpretation activity of the archaeological investigation team, we seek to ensure an adequate 3D representation based on 3D acquisition methods mostly available to the archaeology teams. Archaeological visualization in three-dimensional support is an increasingly frequent and necessary practice, but it continues to show some difficulties. These are substantiated in the reduced number of visualization techniques used, the use of visualization tools that are not very customized for the archaeological needs and the privileged use of visual features of the models during the archaeological process phases. Thus, the main objective of this work is to design and evaluate appropriate methods for visualizing archaeological data. To determine which visualization methods are most used during the phases of the archaeological process, an online user-survey was carried out, which allowed consolidating the 3D representation methodologies used, as well as to propose a visualization model that also categorizes the appropriate visualization techniques which increase the visual perception and understanding of the archaeological elements. Three prototypes are defined according to the different 3D data acquisition methodologies presented and visualization methodologies are designed in order to, on the one hand, take into account the scale and diversity of the archaeological elements and, on the other hand, to account for the need to ensure visualization methods which are easily assimilated by archaeologists. Each prototype was evaluated by two archaeologists with different professional background. They were proposed, through a set of previously determined tasks, to assess the interaction with 3D models and with the visualization methods and the satisfaction of the visualization results regarding the archaeological needs. The evaluation of the prototypes allowed to conclude that the presented visualization methods increase the perception of 3D models which represent archaeological elements. In addition, it was also possible to produce new objects that reveal elements of archaeological interest. It is suggested to make these methodologies available on a web-based application and on mobile platforms.Este trabalho procura esboçar algumas diretrizes no sentido de melhorar a utilização da visualização 3D aplicada aos dados arqueológicos de natureza diversa e a escalas distintas. Uma dificuldade encontrada neste processo prende-se com a, ainda frequente, representação bidimensional da realidade arqueológica tridimensional. Ciente de que a existência de dados de natureza bidimensional são fundamentais no processo arqueológico e que resultam, por um lado, dos processos manuais de registo arqueológicos e, por outro, da intensa atividade de análise e interpretação da equipa de investigação arqueológica, procuramos assegurar uma representação 3D adequada, com base em metodologias de aquisição de dados 3D geralmente disponíveis às equipas de arqueologia. A visualização arqueológica em suporte tridimensional é uma prática cada vez mais frequente e necessária, mas que continua a evidenciar algumas dificuldades. Estas substanciam-se no reduzido número de técnicas de visualização usadas, na utilização de ferramentas de visualização pouco adaptadas às necessidades arqueológicas e na utilização preferencial de características visuais dos modelos durante as fases do processo arqueológico. Assim, o objetivo primordial deste trabalho é desenhar e avaliar métodos adequados à visualização de dados arqueológicos. Para determinar que métodos de visualização são mais utilizados durante as fases do processo arqueológico realizou-se um questionário online que permitiu consolidar as metodologias de representação 3D usadas, bem como propor um modelo de visualização que também categoriza as técnicas de visualização adequadas para aumentar a perceção e a compreensão visual dos elementos arqueológicos. Definem-se três protótipos de acordo com as distintas metodologias de aquisição de dados 3D apresentados e são desenhadas metodologias de visualização que, por um lado, têm em conta a escala e a diversidade dos elementos arqueológicos e, por outro, a necessidade de assegurar métodos de visualização facilmente assimilados pelos arqueólogos. Cada protótipo foi avaliado por dois arqueólogos com experiências profissionais distintas. O que lhes foi proposto, através de um conjunto de tarefas previamente estabelecidas, foi aferir da facilidade de interação com os modelos 3D e com os métodos de visualização e adequação dos resultados de visualização às necessidades dos arqueólogos. A avaliação dos protótipos permitiu concluir que os métodos de visualização apresentados aumentam a perceção dos modelos 3D que representam elementos arqueológicos. Para além disso foi possível produzir também novos objetos que revelam elementos com interesse arqueológico. É sugerida a disponibilização destas metodologias em ambiente web e plataformas móveis.Programa Doutoral em Informátic

New Global Perspectives on Archaeological Prospection

This volume is a product of the 13th International Conference on Archaeological Prospection 2019, which was hosted by the Department of Environmental Science in the Faculty of Science at the Institute of Technology Sligo. The conference is held every two years under the banner of the International Society for Archaeological Prospection and this was the first time that the conference was held in Ireland. New Global Perspectives on Archaeological Prospection draws together over 90 papers addressing archaeological prospection techniques, methodologies and case studies from 33 countries across Africa, Asia, Australasia, Europe and North America, reflecting current and global trends in archaeological prospection. At this particular ICAP meeting, specific consideration was given to the development and use of archaeological prospection in Ireland, archaeological feedback for the prospector, applications of prospection technology in the urban environment and the use of legacy data. Papers include novel research areas such as magnetometry near the equator, drone-mounted radar, microgravity assessment of tombs, marine electrical resistivity tomography, convolutional neural networks, data processing, automated interpretive workflows and modelling as well as recent improvements in remote sensing, multispectral imaging and visualisation

“The Bard meets the Doctor” – Computergestützte Identifikation intertextueller Shakespearebezüge in der Science Fiction-Serie Dr. Who.

A single abstract from the DHd-2019 Book of Abstracts.Sofern eine editorische Arbeit an dieser Publikation stattgefunden hat, dann bestand diese aus der Eliminierung von Bindestrichen in Überschriften, die aufgrund fehlerhafter Silbentrennung entstanden sind, der Vereinheitlichung von Namen der Autor*innen in das Schema "Nachname, Vorname" und/oder der Trennung von Überschrift und Unterüberschrift durch die Setzung eines Punktes, sofern notwendig

Computational interaction techniques for 3D selection, manipulation and navigation in immersive VR

3D interaction provides a natural interplay for HCI. Many techniques involving diverse sets of hardware and software components have been proposed, which has generated an explosion of Interaction Techniques (ITes), Interactive Tasks (ITas) and input devices, increasing thus the heterogeneity of tools in 3D User Interfaces (3DUIs). Moreover, most of those techniques are based on general formulations that fail in fully exploiting human capabilities for interaction. This is because while 3D interaction enables naturalness, it also produces complexity and limitations when using 3DUIs. In this thesis, we aim to generate approaches that better exploit the high potential human capabilities for interaction by combining human factors, mathematical formalizations and computational methods. Our approach is focussed on the exploration of the close coupling between specific ITes and ITas while addressing common issues of 3D interactions. We specifically focused on the stages of interaction within Basic Interaction Tasks (BITas) i.e., data input, manipulation, navigation and selection. Common limitations of these tasks are: (1) the complexity of mapping generation for input devices, (2) fatigue in mid-air object manipulation, (3) space constraints in VR navigation; and (4) low accuracy in 3D mid-air selection. Along with two chapters of introduction and background, this thesis presents five main works. Chapter 3 focusses on the design of mid-air gesture mappings based on human tacit knowledge. Chapter 4 presents a solution to address user fatigue in mid-air object manipulation. Chapter 5 is focused on addressing space limitations in VR navigation. Chapter 6 describes an analysis and a correction method to address Drift effects involved in scale-adaptive VR navigation; and Chapter 7 presents a hybrid technique 3D/2D that allows for precise selection of virtual objects in highly dense environments (e.g., point clouds). Finally, we conclude discussing how the contributions obtained from this exploration, provide techniques and guidelines to design more natural 3DUIs

Perspective and the Blind : rappresentazione e comunicazione inclusiva per l’accessibilità dei dipinti prospettici

[Italiano]: Due mani che esplorano, due occhi che possono solo immaginare. Se c’è qualcosa di universale al mondo, a cui tutti dovrebbero avere il diritto di accedere, quella è l’arte, in tutte le sue forme. Eppure, l’accessibilità all’arte da parte di persone con disabilità visiva è stata per lungo tempo generalmente associata al superamento delle barriere architettoniche; tuttavia, per consentir loro una reale fruizione dei beni artistici e aprire la strada verso il diritto all’esperienza estetica per tutti, è necessario affrontarne l’accessibilità dal punto di vista sensoriale, esperienziale e cognitivo. Il testo propone un approccio metodologico-didattico for all per la ‘traduzione’ dei dipinti fondati sull’uso della prospettiva in un linguaggio accessibile a fruitori con disabilità visiva, in un’ottica inclusiva. Comunicare tali opere a un pubblico non vedente non significa solo restituirne una forma tridimensionale apticamente esplorabile: il dipinto prospettico di epoca rinascimentale porta con sé un corpus di valori, di messaggi simbolici e di significati legati all’applicazione della prospettiva, il cui apprezzamento non passa solo per gli occhi, ma attraverso intelletto e conoscenza. Si propone un approccio metodologico che lavora su due fronti: in primis, la ricerca dell’equivalente rappresentativo dello spazio prospettico; in secondo luogo, la ricerca dell’equivalente estetico, che include il primo e lo completa, consentendo di accedere all’esperienza estetica vera e propria. Pertanto, la comunicazione aumentata ed inclusiva del bene deve prevedere un apparato didattico ben strutturato per veicolare non soltanto le qualità visive dell’opera tradotte in forma tattile ma tutti i significati ad esso connessi, compresi i possibili stimoli multisensoriali che è in grado di evocare. Si forniscono così strategie rappresentative e comunicative utili anche al largo pubblico, che ha l’occasione di sperimentare un modo alternativo e coinvolgente di relazionarsi con l’opera d’arte. L’esperienza multisensoriale, in particolare, incarna appieno lo spirito più autentico dell’inclusione, aggiungendo il ‘sentire’ all’esperienza artistica, così che anche il vedente scopra di ‘vedere di più’. La metodologia proposta si basa sui metodi tradizionali della geometria descrittiva (restituzione prospettica, prospettiva solida accelerata) e le Information and Communication Technologies (3D modeling, 3D printing) e viene applicata a due casi studio, il Banchetto di Erode nelle versioni di Benozzo Gozzoli e Filippo Lippi. / [English]: Two exploring hands, two eyes that can only imagine. If there is something truly universal in this world, that everyone should be granted access to, that is art in all its forms. Yet, the accessibility of art to people with visual impairment has been for a long time mostly intended as the elimination of architectural barriers; however, it is necessary to work on the sensory, experiential and cognitive aspects, in order to allow blind people to truly access and enjoy artworks, paving the way to the right – for everyone - to live the aesthetic experience. In an inclusive perspective, the book proposes a methodological-didactic approach for all for the ‘translation’ of perspective-based paintings into a language which can be accessed by visually impaired users. Communicating such works to a non-sighted audience does not only mean to render them into a tactically explorable three-dimensional form: Renaissance perspective-based paintings embody different values, symbolic messages and meanings which are strictly linked to the application of perspective and whose acknowledgment does not pass through the eyes but through understanding and intellect. The proposed methodological approach works on two fronts: firstly, the search for the figurative equivalent of perspective space; secondly, the research on the aesthetic equivalent, which includes the former and completes it, allowing access to the actual aesthetic experience. Therefore, an augmented and inclusive communication of the artwork must include a well-structured didactic apparatus in order to convey not only the visual qualities of the work translated into tactile form but also all the meanings connected to it, including the possible multisensory stimuli it can evoke. Such kind of representational and communication strategies are beneficial to a generic audience as well, providing the opportunity to experience an alternative way to ‘enter’ the work of art. In particular, the multisensory experience fully reflects the most authentic spirit of inclusion as it adds ‘feeling’ to the artistic experience, so that sighted people find out they can ‘see more’, and better. Research methodology is based on the traditional methods of descriptive geometry (reverse perspective, accelerated solid perspective) and Information and Communication Technologies (3D modeling, 3D printing) and it was applied to two case studies, The Feast of Herod in the versions by Benozzo Gozzoli and Filippo Lippi

Lokalitet Velika Humska Čuka-iskopavanja 2019. godine

Lokalitet Velika Humska Čuka nalazi se u selu Hum kod Niša, na platou dominantnog uzvišenja na severoistočnom rubu Niškog polja. Neposredno pre kampanje iskopavanja 2019. godine, obavljena je probna geomagnetna prospekcija na površini 30 m x 30 m. Prospekcija je realizovana na severoistočnom delu platoa, tik zapadno uz sonde 1/14 i 3/15 u kojima su u prethodnim kampanjama evidentirani ostaci kuće iz starijeg eneolita.ur. S. Vitezović, M. Radišić i Đ. Obradovi

Rezultati arheološke prospekcije donjeg toka Južne Morave u 2019. godini

Projektne aktivnosti su započete uSokobanjskoj kotlini, a nastavljene u Niškoj iAleksinačkoj kotlini. Tokom istraživanja uSokobanjskoj kotlini locirano je dvadeset osam,a u Niškoj kotlini sedamnaest arheološkihlokaliteta. U Sokobanjskoj kotlini je analiziran geomorfološki i pedološki kontekst na više od dvadeset naselja iz različitih perioda u dolinireke Moravice, njenih pritoka i njihovog zaleđa. U Niškoj kotlini najveći akcenat je biousmeren na obilaženje rečne terase Nišave između Donje Vrežine i Malče i pojedinih gradinskih lokacija u zaleđu.ur. S. Vitezović, M. Radišić i Đ. Obradović, Beogra