Authenticity and cultural heritage in the age of 3D digital reproductions

This volume represents the first attempt to collate an organic collection of contributions on authenticity and the digital realm in heritage and archaeology. It analyses the concept of authenticity from different perspectives and with different multidisciplinary contributions, together with theoretical debate. The collection of papers explores the concept of authenticity in a comprehensive way, engaging with theories relating to the commodification of ancient material culture, heritage-making processes, scholarly views and community engagement. These papers also take into account current digital practices for the study of past material culture and how their use affects and redefines interpretation processes in archaeology. This will provide a key reference text for archaeologists, museum and heritage specialists, and other readers interested in authenticity, cultural heritage and 3D reproductions.This book was funded by the EU 7th Framework Programme (7FP), DIGIFACT 625637 Project (http://cordis.europa.eu/project/rcn/187953_ en.html) and ADS3DV 625636 Project (http://cordis.europa.eu/project/ rcn/187952_en.html). The book will be Open Access, thanks to FP7 post-grant Open Access (https://www.openaire.eu/postgrantoapilot)

Framing the past: How virtual experience affects bodily description of artefacts

This study uses a novel, interdisciplinary approach to investigate how people describe ancient artefacts. Here, we focus on gestures. Researchers have shown that gestures are important in communication, and those researchers often make a distinction between beat and iconic gestures. Iconic gestures convey meaning, specifically, visual-spatial information. Beat gestures do not convey meaning; they facilitate lexical access. In our study, we videotaped participants while they described artefacts presented through varied media: visual examination, physical interaction, and three-dimensional virtual and material replica (i.e., 3D prints) interaction. Video analysis revealed that media type affected gesture production. Participants who viewed actual objects displayed in a museum-style case produced few gestures in their descriptions. This finding suggests that traditional museum displays may diminish or limit museum users degree of engagement with ancient artefacts. This interdisciplinary work advances our knowledge of material culture by providing new insights into how people use and experience ancient artefacts in varied presentations. Implications for virtual reproduction in research, education, and communication in archaeology are discussed.This paper is part of a larger study on how people perceive ancient artefacts, which was partially funded by the University of California Humanities Network and the Center for the Humanities at the University of California, Merced.This is the author accepted manuscript. The final version is available from Elsevier via http://dx.doi.org/10.1016/j.culher.2015.04.00

Comparing 2D pictures with 3D replicas for the digital preservation and analysis of tangible heritage

In this paper, we present two experiments designed to compare 2D digital pictures and 3D digital replicas of artefacts, to understand how differently these media facilitate the perception and understanding of our past. Archaeologists and museum experts have commonly used 2D digital pictures to preserve and study artefacts. Recently these scholars have also started to use 3D digital archives for their studies. Yet we still need to determine how these two formats (2D vs 3D) affect the perception of our past. Results to our experiments point to 3D digital replicas of artifacts as more effective means to digitally preserve tangible cultural heritage, since 3D multi-visualization augments the perception of physical characteristics of the artifacts allowing a more embodied experience with these objects. Our experiments also suggest that multi-visualization (i.e., point-cloud, mesh, and color information) helps the viewers to overcome their personal conceptualization of specific objects.This is the author accepted manuscript. The final version is available from Taylor & Francis via http://dx.doi.org/10.1080/09647775.2015.104251

Theorising 3D Visualisation Systems in Archaeology: Towards more effective design, evaluations and life cycles

3D visualization in archaeology has become a suitable solution and effective instrument for the analysis, interpretation and communication of archaeological information. However, only few attempts have been made so far for understanding and evaluating the real impact that 3D imaging has on the discipline under its different forms (offline immersive and not immersive, and online platform). There is a need in archaeology and cultural heritage for a detailed analysis of the different infrastructural options that are available and a precise evaluation of the different impact that they can have in reshaping the discipline. To achieve this, it is important to develop new methodologies that consider the evaluation process as a fundamental and central part for assessing digital infrastructures. This new methods should include flexible evaluation approaches that can be adapted to the infrastructure that need to be assessed. This paper aims at providing some examples of 3D applications in archaeology and cultural heritage and describing how the selection of the infrastructure is related to specific needs of the project. This work will describe the different applications and propose guidelines and protocols for evaluating their impact within academia and the general public

3D printing and immersive visualization for improved perception of ancient artifacts

This article investigates the use of 3D immersive virtual environments and 3D prints for interaction with past material culture over traditional observation without manipulation. Our work is motivated by studies in heritage, museum, and cognitive sciences indicating the importance of object manipulation for understanding present and ancient artifacts. While virtual immersive environments and 3D prints have started to be incorporated in heritage research and museum displays as a way to provide improved manipulation experiences, little is known about how these new technologies affect the perception of our past. This article provides first results obtained with three experiments designed to investigate the benefits and tradeoffs in using these technologies. Our results indicate that traditional museum displays limit the experience with past material culture, and reveal how our sample of participants favor tactile and immersive 3D virtual experiences with artifacts over visual non-manipulative experiences with authentic objects. This paper is part of a larger study on how people perceive ancient artifacts, which was partially funded by the University of California Humanities Network and the Center for the Humanities at the University of California, Merced.This is the author accepted manuscript. The final version is available from MIT Press via http://dx.doi.org/10.1162/PRES_a_0022

Web-based visualization for 3D data in archaeology : The ADS 3D viewer

The solid geometry of archaeological deposits is fundamental to the interpretation of their chronological sequence. However, such stratigraphic sequences are generally viewed as static two-dimensional diagrammatic representations which are difficult to manipulate or to relate to real layers. The ADS 3D Viewer is a web-based resource for the management and analysis of archaeological data. The viewer was developed to take advantage of recent developments in web technology, namely the adoption of WebGL (Web Graphics Library) by current web browsers. The ADS 3D Viewer combines the potential of the 3D Heritage Online Presenter (3DHOP), a software package for the web-based visualization of 3D geometries, with the infrastructure of the Archaeology Data Service (ADS) repository, in the attempt to create a platform for the visualization and analysis of 3D data archived by the ADS. Two versions of the viewer have been developed to answer the needs of different users. The first version, the Object Level 3D Viewer, was implemented to extend the browsing capability of ADS project archives by enabling the visualization of single 3D models. The second version, the Stratigraphy 3D Viewer, is an extension which allows the exploration of a specific kind of aggregated data: the multiple layers of an archaeological stratigraphic sequence. This allows those unable to participate directly in the fieldwork to access, analyse and re-interpret the archaeological context remotely. This has the potential to transform the discipline, allowing inter-disciplinary, cross-border and ‘at-distance’ collaborative workflows, and enabling easier access to and analysis of archaeological data

Ksar Said: Building Tunisian Young People’s Critical Engagement with Their Heritage

This paper describes the work undertaken as part of the ‘Digital Documentation of Ksar Said’ Project. This project, funded by the British Council, combined education, history, and heritage for the digital preservation of tangible and intangible aspects of heritage associated with the 19th century Said Palace (Ksar Said) in Tunis. We produced an interactive 3D model of Ksar Said and developed learning resources to build Tunisian students’ critical engagement with their heritage through inquiry learning activities within the 3D model. We used a user-centred approach, based on pre-assessment (i.e., co-creation of contents), mid-term evaluation (i.e., feedback on contents and preliminary design of virtual activities), and post-assessment design (i.e., user trial). Our results demonstrate the potential of this novel approach to virtual learning and inform future co-design, evaluation and implementation choices for improving the generative power of three dimensional virtual replication of heritage sites in the cultural heritage sector

Grasping the Materiality of the Past: Digital Archaeology in Lower-Division Courses

Archaeology is a material, embodied discipline; communicating this experience is critical to student success in lower-division courses. This article presents an overview and case study of how a digital approach to laboratory work can positively affect student learning. Virtual reconstruction serves, then, as an important bridge from traditional coursework to fieldwork. Highlighted curriculum samples include ill-defined problem sets, which help to scaffold students towards this fieldwork laboratory experience