Image-based rendering of ancient Chinese artifacts for multi-view displays - a multi-camera approach

Image-based rendering (IBR) is an emerging and promising technology for photo-realistic rendering of scenes and objects from a collection of densely sampled images and videos. This paper proposes an image-based approach to the rendering and multi-view display of ancient Chinese artifacts for cultural heritage preservation. A multiple-camera circular array was constructed to record images of the artifacts. Novel techniques for segmenting and rendering new views of the artifacts from the sampled images are developed. The multiple views so synthesized enable the ancient artifacts to be displayed in modern multi-view displays and conventional stereo systems. Several collections from the University Museum and Art Gallery at the University of Hong Kong are captured and excellent rendering results are obtained. ©2010 IEEE.published_or_final_versionThe 2010 IEEE International Symposium on Circuits and Systems (ISCAS), Paris, France, 30 May-2 June 2010. In IEEE International Symposium on Circuits and Systems Proceedings, 2010, p. 3252-325

A multi-camera approach to image-based rendering and 3-D/Multiview display of ancient chinese artifacts

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Image-based compression, prioritized transmission and progressive rendering of circular light fields (CLFS) for ancient Chinese artifacts

This paper proposes an efficient algorithm for the compression, prioritized transmission and progressive rendering of circular light field (CLF) for ancient Chinese artifacts. It employs wavelet coder to achieve spatial scalability and divide the compressed data into a lower resolution base layer and an additional enhancement layer. The enhancement layer is coded as in JPEG2000 into packets where the base-layer is coded using disparity compensation prediction (DCP). The frame structure is designed to provide efficient access to the compressed data in order to support selective transmission and decoding. The depth and alpha maps are coded analogously. A prioritized transmission scheme which support interactive progressive rendering is also proposed to further reduce the latency and response time of rendering. © 2010 IEEE.published_or_final_versionThe 2010 IEEE Asia Pacific Conference on Circuits and Systems (APCCAS), Kuala Lumpur Malaysia, 6-9 December 2010. In IEEE APCCAS Proceedings, 2010, p. 340-34

Interaction in an immersive virtual Beijing courtyard house

Courtyard housing had been a standard dwelling type in China for more than 3000 years, which integrated tightly with local customs, aesthetics, philosophy, and natural conditions. As the representative of Chinese courtyard housing, Beijing\u27s style has its unique features including structure, plan layout, and urban form. How to present these features effectively is of great importance to understand Beijing courtyard housing. The current major visualization methods in architecture include physical model, digital imaging, and hand drawing. All of them have two common limitations--small dimensions and non-interaction. As an alternative, VR owns two advantages--immersion and interactivity. In a full-immersive VR environment, such as the C6, users can examine virtual buildings at full-scale and operate models interactively at real-time. Thus, this project attempts to implement an interactive simulation of Beijing courtyard house in C6, and find out if architectural knowledge can be presented through this environment. The methodological steps include VR modeling, interaction planning, and C6 implementation. A four-yard house in Beijing was used as the prototype of VR modeling. By generating the model into six versions with different nodes and textures, it was found that the fewer nodes a model has, the quicker it is in C6. The main interaction mechanism is to demonstrate the main hall\u27s structure interactively through menu selection. The sequence to show the structure is based on its constructional process. Each menu item uses the name of structural components, and by clicking a menu item, the corresponding constructional step is shown in C6. There were five viewers invited to see the simulation and comment on the functionality of full-immersion and interactivity in this product. Overall, the results are positive that the full-immersive and interactive VR environment is potentially effective to present architectural knowledge. A major suggestion from the viewers is that more details can be added in the simulation, such as characters and furniture. Upon the accomplishment of this project, a method to implement architectural simulations efficiently in C6 could be found. In the future, this study could involve more complex interactions such as virtual inhabitants, as a means to show the Chinese culture vividly

VR Technologies in Cultural Heritage

This open access book constitutes the refereed proceedings of the First International Conference on VR Technologies in Cultural Heritage, VRTCH 2018, held in Brasov, Romania in May 2018. The 13 revised full papers along with the 5 short papers presented were carefully reviewed and selected from 21 submissions. The papers of this volume are organized in topical sections on data acquisition and modelling, visualization methods / audio, sensors and actuators, data management, restoration and digitization, cultural tourism

Virtual Heritage: new technologies for edutainment

Cultural heritage represents an enormous amount of information and knowledge. Accessing this treasure chest allows not only to discover the legacy of physical and intangible attributes of the past but also to provide a better understanding of the present. Museums and cultural institutions have to face the problem of providing access to and communicating these cultural contents to a wide and assorted audience, meeting the expectations and interests of the reference end-users and relying on the most appropriate tools available. Given the large amount of existing tangible and intangible heritage, artistic, historical and cultural contents, what can be done to preserve and properly disseminate their heritage significance? How can these items be disseminated in the proper way to the public, taking into account their enormous heterogeneity? Answering this question requires to deal as well with another aspect of the problem: the evolution of culture, literacy and society during the last decades of 20th century. To reflect such transformations, this period witnessed a shift in the museum’s focus from the aesthetic value of museum artifacts to the historical and artistic information they encompass, and a change into the museums’ role 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 developments require creating novel exhibits, able to tell stories about the objects and enabling visitors to construct semantic meanings around them. The objective that museums presently 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’, being active actors and players in their own cultural experience. As a result, institutions 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. In order to cope with these issues, I investigated several approaches. In particular, I focused on Virtual Learning Environments (VLE): real-time interactive virtual environments where visitors can experience a journey through time and space, being immersed into the original historical, cultural and artistic context of the work of arts on display. VLE can strongly help archivists and exhibit designers, allowing to create new interesting and captivating ways to present cultural materials. In this dissertation I will tackle many of the different dimensions related to the creation of a cultural virtual experience. During my research project, the entire pipeline involved into the development and deployment of VLE has been investigated. The approach followed was to analyze in details the main sub-problems to face, in order to better focus on specific issues. Therefore, I first analyzed different approaches to an effective recreation of the historical and cultural context of heritage contents, which is ultimately aimed at an effective transfer of knowledge to the end-users. In particular, I identified the enhancement of the users’ sense of presence in VLE as one of the main tools to reach this objective. Presence is generally expressed as the perception of 'being there', i.e. the subjective belief of users that they are in a certain place, even if they know that the experience is mediated by the computer. Presence is related to the number of senses involved by the VLE and to the quality of the sensorial stimuli. But in a cultural scenario, this is not sufficient as the cultural presence plays a relevant role. Cultural presence is not just a feeling of 'being there' but of being - not only physically, but also socially, culturally - 'there and then'. In other words, the VLE must be able to transfer not only the appearance, but also all the significance and characteristics of the context that makes it a place and both the environment and the context become tools capable of transferring the cultural significance of a historic place. The attention that users pay to the mediated environment is another aspect that contributes to presence. Attention is related to users’ focalization and concentration and to their interests. Thus, in order to improve the involvement and capture the attention of users, I investigated in my work the adoption of narratives and storytelling experiences, which can help people making sense of history and culture, and of gamification approaches, which explore the use of game thinking and game mechanics in cultural contexts, thus engaging users while disseminating cultural contents and, why not?, letting them have fun during this process. Another dimension related to the effectiveness of any VLE is also the quality of the user experience (UX). User interaction, with both the virtual environment and its digital contents, is one of the main elements affecting UX. With respect to this I focused on one of the most recent and promising approaches: the natural interaction, which is based on the idea that persons need to interact with technology in the same way they are used to interact with the real world in everyday life. Then, I focused on the problem of presenting, displaying and communicating contents. VLE represent an ideal presentation layer, being multiplatform hypermedia applications where users are free to interact with the virtual reconstructions by choosing their own visiting path. Cultural items, embedded into the environment, can be accessed by users according to their own curiosity and interests, with the support of narrative structures, which can guide them through the exploration of the virtual spaces, and conceptual maps, which help building meaningful connections between cultural items. Thus, VLE environments can even be seen as visual interfaces to DBs of cultural contents. Users can navigate the VE as if they were browsing the DB contents, exploiting both text-based queries and visual-based queries, provided by the re-contextualization of the objects into their original spaces, whose virtual exploration can provide new insights on specific elements and improve the awareness of relationships between objects in the database. Finally, I have explored the mobile dimension, which became absolutely relevant in the last period. Nowadays, off-the-shelf consumer devices as smartphones and tablets guarantees amazing computing capabilities, support for rich multimedia contents, geo-localization and high network bandwidth. Thus, mobile devices can support users in mobility and detect the user context, thus allowing to develop a plethora of location-based services, from way-finding to the contextualized communication of cultural contents, aimed at providing a meaningful exploration of exhibits and cultural or tourist sites according to visitors’ personal interest and curiosity

Electronic Imaging & the Visual Arts. EVA 2012 Florence

The key aim of this Event is to provide a forum for the user, supplier and scientific research communities to meet and exchange experiences, ideas and plans in the wide area of Culture & Technology. Participants receive up to date news on new EC and international arts computing & telecommunications initiatives as well as on Projects in the visual arts field, in archaeology and history. Working Groups and new Projects are promoted. Scientific and technical demonstrations are presented

A Survey of Geometric Analysis in Cultural Heritage

We present a review of recent techniques for performing geometric analysis in cultural heritage (CH) applications. The survey is aimed at researchers in the areas of computer graphics, computer vision and CH computing, as well as to scholars and practitioners in the CH field. The problems considered include shape perception enhancement, restoration and preservation support, monitoring over time, object interpretation and collection analysis. All of these problems typically rely on an understanding of the structure of the shapes in question at both a local and global level. In this survey, we discuss the different problem forms and review the main solution methods, aided by classification criteria based on the geometric scale at which the analysis is performed and the cardinality of the relationships among object parts exploited during the analysis. We finalize the report by discussing open problems and future perspectives

Rendering the Social in the Architectural Scene: Digital Representation and Social Inclusion on Architectural Design, Thinking, and Education

The digital production of hyper-rendered scenes has come to dominate architectural practice. Jean Baudrillard's warning that simulation will replace the real is now obvious and ubiquitous in our wirelessly networked mediated lives. CAD monkeys, rendering farms, and out-sourcers form the cabal behind the global production of seductive computer generated imagery detached from real people and places. This paper builds on the premise that physical places, designed and marketed through digital imagery, set the stage for the "social scenes" of tourism, leisure and consumption, and that privatized public spaces become "images" in themselves. Providing a setting for ways of people seeing, and being seen by others, these images encourage us to mimic the poses and gestures of architectural renderings. Standing against our growing obsession with rendered architectural scenes suggests that, as digital modes of creation and representation increasingly become objectives in and of themselves, architectural practice is prone to blindness in the face of social developments which exist independently of architecture's digital turn. The paper highlights the possible integration of the social and the technological through documenting a series of design, professional, and pedagogical projects which have, during the thirty-year period of architecture's 'digital turn', increasingly incorporated 'the digital', but which have persistently continued to foreground the social

Augmented Reality

Augmented Reality (AR) is a natural development from virtual reality (VR), which was developed several decades earlier. AR complements VR in many ways. Due to the advantages of the user being able to see both the real and virtual objects simultaneously, AR is far more intuitive, but it's not completely detached from human factors and other restrictions. AR doesn't consume as much time and effort in the applications because it's not required to construct the entire virtual scene and the environment. In this book, several new and emerging application areas of AR are presented and divided into three sections. The first section contains applications in outdoor and mobile AR, such as construction, restoration, security and surveillance. The second section deals with AR in medical, biological, and human bodies. The third and final section contains a number of new and useful applications in daily living and learning