VIRTUAL TOUR IN THE SUNKEN “VILLA CON INGRESSO A PROTIRO” WITHIN THE UNDERWATER ARCHAEOLOGICAL PARK OF BAIAE

The paper presents the application of some Virtual Reality technologies developed in the Horizon 2020 i-MARECulture project to the case study of the sunken “Villa con ingresso a protiro”, dated around the II century AD, and located in the Marine Protected Area - Underwater Park of Baiae (Naples).The i-MARECulture project (www.imareculture.eu), in fact, aims to improve the public awareness about the underwater cultural heritage by developing new tool and techniques that take advantage of the virtual reality technologies to allow the general public to explore the archaeological remains outside of the submerged environment.To this end, the paper details the techniques and methods adopted for the development of an immersive virtual tour that allow users to explore, through a storytelling experience, a virtual replica and a 3D hypothetical reconstruction of the complex of the “Villa con ingresso a protiro”.</p

The Exhibition of Oceans A History of the ʻImmersive Exhibitionʼ at Public Aquariums from the 19th to the 21st Century

This paper aims to trace the history of the ‘immersive exhibition’ at public aquariums from the 19th to the 21st century, with reference to technological developments as well as the social and cultural background of these exhibits. We also take a look at what these kinds of exhibitions might look like in the near future.In this paper, we also consider the ‘reality’ presented by aquarium exhibitions. The simulated seascape cannot seem ‘realistic’ unless it meets visitors\u27 expectations. Therefore, aquarists have over time tried to reconstruct’ oceans’ so that visitors would feel as if the exhibition were ‘real’. The first section of this paper focuses on the features of early immersive exhibitions from the 19th to the beginning of the 20th century, comparing them with other visual cultural forms, such as the panorama. The second section treats aquariums from the 20th century to the beginning of the 21st century. We have selected here representative aquariums in Western and Eastern countries and analyse their exhibition styles. In the last section, which features the advent of new exhibitions that apply VR technology, we concisely discuss the exhibition that may appear in the near future

Kaleidoscopic vision: immersive experiments in maritime worlds

This article critically engages with intersecting tropes of immersion central to both notions of ethnography and technologically-enabled “extended reality” (XR). The authors build on Pauwelussen’s experience of disorientation while doing research within the dynamic land-sea environment of the Makassar Strait in Indonesia by hacking 360° video technologies to juxtapose multiple scenes of ‘flat’ video. These techniques of spatial montage enabled the authors to destabilize the assumption of ‘omni-scopic’ spherical holism and reconceptualize the ontological complexity of these entangled lifeworlds. Unexpectedly, this multimodal assemblage of agencies offered a kaleidoscopic perspective on immersive ethnography comprised of dynamic perception and speculative thinking.Global Challenges (FSW

UNDERSTANDING UNDERWATER PHOTOGRAMMETRY FOR MARITIME ARCHAEOLOGY THROUGH IMMERSIVE VIRTUAL REALITY

Underwater archaeological discoveries bring new challenges to the field, but such sites are more difficult to reach and, due to natural influences, they tend to deteriorate fast. Photogrammetry is one of the most powerful tools used for archaeological fieldwork. Photogrammetric techniques are used to document the state of the site in digital form for later analysis, without the risk of damaging any of the artefacts or the site itself. To achieve best possible results with the gathered data, divers should come prepared with the knowledge of measurements and photo capture methods. Archaeologists use this technology to record discovered arteacts or even the whole archaeological sites. Data gathering underwater brings several problems and limitations, so specific steps should be taken to get the best possible results, and divers should well be prepared before starting work at an underwater site. Using immersive virtual reality, we have developed an educational software to introduce maritime archaeology students to photogrammetry techniques. To test the feasibility of the software, a user study was performed and evaluated by experts. In the software, the user is tasked to put markers on the site, measure distances between them, and then take photos of the site, from which the 3D mesh is generated offline. Initial results show that the system is useful for understanding the basics of underwater photogrammetry

Actors in VR storytelling

Virtual Reality (VR) storytelling enhances the immersion of users into virtual environments (VE). Its use in virtual cultural heritage presentations helps the revival of the genius loci (the spirit of the place) of cultural monuments. This paper aims to show that the use of actors in VR storytelling adds to the quality of user experience and improves the edutainment value of virtual cultural heritage applications. We will describe the Baiae dry visit application which takes us to a time travel in the city considered by the Roman elite as "Little Rome (Pusilla Roma)" and presently is only partially preserved under the sea.Comment: Pre-print versio

Making the invisible visible:Underwater Malta—a virtual museum for submerged cultural heritage

The seabed can be considered as the world’s largest museum, and underwater sites ex‐ plored and studied so far provide priceless information on human interaction with the sea. In recog‐ nition of the importance of this cultural resource, UNESCO, in its 2001 Convention on the Protection of the Underwater Cultural Heritage, determined that objects/sites should be preserved in situ, whilst also advocating for public access and sharing. The implementation of these principles is not without difficulties. Some states have opened up underwater sites to the public—mainly through diving, yet the vast majority of the world’s population does not dive. In Malta, 7000 years of human occupation is reflected in and on the landscape, and recent offshore surveys show that the islands’ long and complex history has also left an indelible mark on the seabed. Besides difficulties related to their protection and management, these sites also present a challenge with regard to sharing and communicating. Recent advances in underwater imaging and processing software have accelerated the development of 3D photogrammetry of submerged sites and the idea for a virtual museum was born. The virtual museum, UnderwaterMalta, was created out of a need to share the plethora of underwater sites located on the seabed of the Maltese Islands. A multitude of digital tools are used to share and communicate these sites, offering visitors a dry dive into submerged sites that would otherwise remain invisible to the vast majority of the public. This paper discusses the basic principle of the sharing of underwater cultural heritage and the difficulties that beset the implementation of such a principle. A detailed explanation and evaluation of the methods used to gather the raw data needed is set in the context of the particular and unique working conditions related to deep water sites. The workings of this paper are based on first‐hand experiences garnered through the record‐ ing of numerous wrecks over the years and the creation and launch of The Virtual Museum‐Under‐ water Malta—a comprehensive virtual museum specifically built for “displaying” underwater ar‐ chaeological sites that are otherwise invisible to the general public.peer-reviewe

The fluid experience of space : physical body in virtual spaces over an analysis of Osmose

Cataloged from PDF version of article.By the naissance of virtual reality, the body is repressed and transformed into representation in technological virtuality, and the cyberspace has defined as the space experienced by the mind that is separated from the body. By this transformation to ‘simulacra’, this dystopian world of Neuromancer has become the model for future works. Whereas by the help of Char Davies’ Osmose using Virtual Reality technology, the boundaries of technological virtuality is expanded in such a way to include the de-technologized virtuality: the virtuality of nature. By the use of virtual reality technology, Davies’s interpretation to cyberspace is transgressive in terms of body and space notion. Starting from the definition virtuality of nature, my aim is to analyze the virtuality of water, that will help the thesis to criticize the technology per se and proposes ‘other’ space and body relation in this newly created environment: water space. By the direct ‘contact’ of the body, water space become united with the element, dissolving the boundaries of object/subject, inside/outside splits. Drawing parallel lines between water and imagination, virtuality and freedom, this thesis proposes a look at the cyberspace notion through water.Varinlioğlu, GüzdenM.S

MODELING HYPERBARIC CHAMBER ENVIRONMENT AND CONTROL SYSTEM

Deep water activities are essential for many industrial fields, for instance in repairing and installation of underwater cables, pipes and constructions, marine salvage and rescue opera- tions. In some cases, these activities must be performed in deep water and hence require special equipment and prepared and experienced personnel. In some critical situations, re- motely controlled vehicles (ROVs) can't be used and a human diver intervention is required. In the last case, divers are required to perform work at high depths, which could be as low as 300m below the water surface. Usually, this is the limit depth for commercial diving and when operations must be carried out even deeper, ROVs remain only possibility to perform them. In the past, the safety regulations were less strict and numerous operations on depth of 300-350 meters of seawater were conducted. However, in the beginning of the 90s gov- ernments and companies started to impose limits on depths of operation; for instance, in Norway maximum operational depth for saturation divers is limited to 180 meters of sea- water (Imbert et al., 2019). Obviously, harsh environmental conditions impose various limitations on performed activi- ties; indeed, low temperature, poor visibility and high pressure make it difficult not only to operate at depth, but even to achieve the point of intervention. One of the main problems is related to elevated pressure, which rises for about 1 bar for each 10 meters of water depth and could achieve up to 20-25 bars at required depth, while pressure inside divers\u2019 atmospheric diving suites must be nearly the same. Considering this, there are several evident limitations. First is related to the fact that at high atmospheric pressure oxy- gen becomes poisonous for human body and special breath gas mixtures are required to avoid health issues. The second one is maximum pressure variation rate which would not cause damage for the human body; indeed, fast compression or decompression could easily cause severe damages and even death of divers. Furthermore, surveys found that circa 1/3 of divers experience headache during decompression which usually last for at least several hours and up to several days (Imbert et al., 2019). The same study indicates that majority of the divers experience fatigue after saturation and it lasts on average more than 4 days before return to normal. Obviously, risk of accidents increases with high number of compression- decompression cycles. To address these issues, in commercial deep water diving the common practice is to perform pressurization only one time before the start of the work activity which typically lasts 20-30 days and consequent depressurization after its end. Hence, divers are living for several weeks in isolated pressurized environments, typically placed on board of a Dive Support Vessel (DSV), usually barge or a ship, and go up and down to the workplace using submersible decompression chamber also known as the bell. While long-term work shifts provide numerous advantages, there is still necessity to perform life support supervision of the plant, the bell and the diving suits, which require presence of well qualified personnel. Currently, most of training activities are performed on empty plant during idle time, but obviously this approach is low efficient and costly, as well as accom- panied by the risk to broke equipment. To address such issues, this research project proposes utilization of simulator of plant and its life support system, devoted to train future Life-Support Supervisors (LSS), taking into account gas dynamics, human behaviour and physiology as well as various aspect of opera- tion of saturation diving plants