Sampled 3D models for Cultural Heritage: which uses beyond visualization?

[EN] Digital technologies are now mature for producing high quality digital replicas of Cultural Heritage (CH) artefacts. The research results produced in the last decade have shown an impressive evolution and consolidation of the technologies for acquiring high-quality digital 3D models (3D scanning) and for rendering those models at interactive speed. Technology is now mature enough to push us to go beyond the plain visualization of those assets, devising new tools able to extend our insight and intervention capabilities and to revise the current consolidated procedures for CH research and management. The paper presents a few recent experiences where high-quality 3D models have been used in CH research, restoration and conservation. These examples constitutes a broad review of different uses of digital 3Dassets in the CH domain.[ES] Se puede afirmar que las tecnologías digitales han alcanzado un punto de madurez suficiente como para producir réplicas digitales de alta calidad del patrimonio cultural, especialmente de artefactos. Los resultados de la investigación producidos en la última década han mostrado una impresionante evolución y consolidación de las tecnologías utilizadas para la producción de modelos digitales 3D de alta calidad (escaneado 3D) y para el renderizado de esos modelos a una velocidad interactiva. En este sentido la tecnología es hoy perfectamente capaz de empujarnos a ir más allá de la simple visualización de los bienes culturales, hasta elaborar nuevas herramientas capaces de ampliar nuestra visión y capacidades de intervención así como de revisar los procedimientos actuales de investigación y gestión del patrimonio cultural. Este artículo presenta algunas experiencias recientes en las que modelos 3D de alta calidad han sido utilizados para mejorar la investigación, restauración y conservacióThe research leading to these results has received funding from the European Community’s Seventh Framework Programme (FP7/2007- 2013) under grant agreements no. 231809 (IST IP "3DCOFORM") and no. 270404 (IST NoE "V-Must.Net").Scopigno, R. (2012). Sampled 3D models for Cultural Heritage: which uses beyond visualization?. Virtual Archaeology Review. 3(5):109-115. https://doi.org/10.4995/var.2012.4537OJS10911535CALLIERI M., CIGNONI P., GANOVELLI F., IMPOCO G., MONTANI C., PINGI P., PONCHIO F., SCOPIGNO R. (2004): "Visualization and 3D data processing in David's restoration". IEEE Computer Graphics & Applications 24, 2 (Mar.-Apr. 2004), pp. 16-21. http://dx.doi.org/10.1109/MCG.2004.1274056CORSINI M., DELLEPIANE M., DERCKS U., PONCHIO F., CALLIERI M., KEULTJES D., MARINELLO A., SIGISMONDI R., SCOPIGNO R., WOLF G. (2010): "Cenobium - putting together the romanesque cloister capitals of the mediterranean region". In Bar International Series BAR S2118 2010 (Proc. of III International Conference on Remote Sensing in Archaeology, 17th-21st August 2009) (2010), S. Campana M. F., Liuzza C., (Eds.), pp. 189-194.DELLEPIANE M., CALIERI M., DELL'UNTO N. (2011): "Monitoring archeological excavation using dense stereo matching techniques". Tech. rep., CNR-ISTI, Pisa, Italy, 2011.DELLEPIANE M., CALLIERI M., FONDERSMITH M., CIGNONI P., SCOPIGNO R. (2007): "Using 3D scanning to analyze a proposal for the attribution of a bronze horse to Leonardo da Vinci". In The 8th Int. Symp. on International Symposium on Virtual Reality, Archaeology and Cultural Heritage (VAST 07) (Nov 2007), Eurographics, pp. 117-124.DYLLA K., FRISCHER B., MUELLER P., ULMER A., HAEGLER S. (2009): "Rome Reborn 2.0: A case study of virtual city reconstruction using procedural modeling techniques". In 37th Proceedings of the CAA Conference, March 22-26, 2009 (2009), pp. 62-66.HUANG Q.-X., FLORY S., GELFAND N., HOFER M., POTTMANN H. (2006): "Reassembling fractured objects by geometric matching". ACM Trans. Graphics 25, 3 (2006), pp. 569-578. http://dx.doi.org/10.1145/1141911.1141925LEVOY M., PULLI K., CURLESS B., RUSINKIEWICZ S., KOLLER D., PEREIRA L., GINZTON M., ANDERSON S., DAVIS J., GINSBERG J., SHADE J., FULK D. (2000): "The Digital Michelangelo Project: 3D scanning of large statues". In SIGGRAPH 2000, Computer Graphics Proceedings (July 24-28, 2000), Annual Conference Series, AddisonWesley, pp. 131-144. http://dx.doi.org/10.1145/344779.344849SCOPIGNO, Roberto et al. (2011): "Sampled 3D models for CH: beyond plain visualization", IEEE Computer, IEEE Press, July-Aug. 2011, (in press).STANCO F., BATTIATO S., GALLO G., (ed.) (2011): "Digital Imaging for Cultural Heritage Preservation". Taylor & Francis Group, 2011.TOLER-FRANKLIN C., BROWN B., WEYRICH T., FUNKHOUSER T., RUSINKIEWICZ S. (2010): "Multi-feature matching of fresco fragments". ACM Trans. Graphics (Proc. SIGGRAPH Asia) 29, 6 (2010), pp. 185-197. http://dx.doi.org/10.1145/1882262.1866207http://dx.doi.org/10.1145/1882261.186620

Uses of uncalibrated images to enrich 3D models information

The decrease in costs of semi-professional digital cameras has led to the possibility for everyone to acquire a very detailed description of a scene in a very short time. Unfortunately, the interpretation of the images is usually quite hard, due to the amount of data and the lack of robust and generic image analysis methods. Nevertheless, if a geometric description of the depicted scene is available, it gets much easier to extract information from 2D data. This information can be used to enrich the quality of the 3D data in several ways. In this thesis, several uses of sets of unregistered images for the enrichment of 3D models are shown. In particular, two possible fields of application are presented: the color acquisition, projection and visualization and the geometry modification. Regarding color management, several practical and cheap solutions to overcome the main issues in this field are presented. Moreover, some real applications, mainly related to Cultural Heritage, show that provided methods are robust and effective. In the context of geometry modification, two approaches are presented to modify already existing 3D models. In the first one, information extracted from images is used to deform a dummy model to obtain accurate 3D head models, used for simulation in the context of three-dimensional audio rendering. The second approach presents a method to fill holes in 3D models, with the use of registered images depicting a pattern projected on the real object. Finally, some useful indications about the possible future work in all the presented fields are given, in order to delineate the developments of this promising direction of research

A Survey of Geometric Analysis in Cultural Heritage

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Report on shape analysis and matching and on semantic matching

In GRAVITATE, two disparate specialities will come together in one working platform for the archaeologist: the fields of shape analysis, and of metadata search. These fields are relatively disjoint at the moment, and the research and development challenge of GRAVITATE is precisely to merge them for our chosen tasks. As shown in chapter 7 the small amount of literature that already attempts join 3D geometry and semantics is not related to the cultural heritage domain. Therefore, after the project is done, there should be a clear ‘before-GRAVITATE’ and ‘after-GRAVITATE’ split in how these two aspects of a cultural heritage artefact are treated.This state of the art report (SOTA) is ‘before-GRAVITATE’. Shape analysis and metadata description are described separately, as currently in the literature and we end the report with common recommendations in chapter 8 on possible or plausible cross-connections that suggest themselves. These considerations will be refined for the Roadmap for Research deliverable.Within the project, a jargon is developing in which ‘geometry’ stands for the physical properties of an artefact (not only its shape, but also its colour and material) and ‘metadata’ is used as a general shorthand for the semantic description of the provenance, location, ownership, classification, use etc. of the artefact. As we proceed in the project, we will find a need to refine those broad divisions, and find intermediate classes (such as a semantic description of certain colour patterns), but for now the terminology is convenient – not least because it highlights the interesting area where both aspects meet.On the ‘geometry’ side, the GRAVITATE partners are UVA, Technion, CNR/IMATI; on the metadata side, IT Innovation, British Museum and Cyprus Institute; the latter two of course also playing the role of internal users, and representatives of the Cultural Heritage (CH) data and target user’s group. CNR/IMATI’s experience in shape analysis and similarity will be an important bridge between the two worlds for geometry and metadata. The authorship and styles of this SOTA reflect these specialisms: the first part (chapters 3 and 4) purely by the geometry partners (mostly IMATI and UVA), the second part (chapters 5 and 6) by the metadata partners, especially IT Innovation while the joint overview on 3D geometry and semantics is mainly by IT Innovation and IMATI. The common section on Perspectives was written with the contribution of all

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The conservation of Buddhist sculptures that were transferred to Europe at some point during their lifetime raises numerous questions: while these objects historically served a religious, devotional purpose, many of them currently belong to museums or private collections, where they are detached from their original context and often adapted to western taste. A scientific study was carried out to address questions from Museo d'Arte Orientale of Turin curators in terms of whether these artifacts might be forgeries or replicas, and how they may have transformed over time. Several analytical techniques were used for materials identification and to study the production technique, ultimately aiming to discriminate the original materials from those added within later interventions

Investigations Into the Phenomenology and the Ontology of the Work of Art

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