Escenarios virtuales interactivos y su aplicación a la Arqueología. El Proyecto DHER: una propuesta de trabajo

En los últimos años, las técnicas informáticas y la realidad virtual han extendido sus capacidades al campo de la percepción, generando posibles interacciones entre simulaciones numéricas y datos experimentales. Así, las aplicaciones de la realidad virtual estarán estrictamente unidas a la visualización científica. En este sentido, hemos pretendido integrar los contenidos del Proyecto DHER –Domus Herculaniensis Rationes– de la Universidad de Bolonia con la visualización científica, con el objetivo de visualizar e interactuar con la información arqueológica, en diferentes niveles de detalle. Decidimos reali- zar un modelo 3D, reflejo de la complejidad arquitectónica del sitio arqueológico, no solo en su geometría básica, sino también en aquellos datos que nos sirven para contextualizar mejor la información, como por ejemplo, el aparato decorativo de la arquitectura doméstica de Herculano, en la que investigadores y técnicos del proyecto DHER están trabajando

Chapter Il Piccolo Masaccio e le Terre Nuove. Creativity and Computer Graphics for Museum Edutainment

Since its opening, the Museum of the New Towns, housed in the Palazzo di Arnolfo in San Giovanni Valdarno, has dedicated a particular attention to the relationship with its audiences. In this context, the video “Il piccolo Masaccio e le Terre Nuove” has the purpose of bringing children and young people, in particular, closer to the museum main themes. The video presents a series of very different techniques, such as live shots, taken also by drone, Computer Graphics, 2D drawings executed with a tablet, drawings sketched with traditional techniques, such as India ink and watercolours, and digital videos taken from Google Earth

The Marcus Caelius Project: a transmedial approach to support cultural communication and educational activities at the Civical Archaeological Museum of Bologna

[EN] The project “Marcus Caelius – the Value of Memory” is a 8 minute short animation movie located in the Roman Bologna at the Augustan Age. It originated with the Civical Archaeological Museum of Bologna in collaboration with Cineca VisIT-Lab. The project emploies a well known historical fact (the Battle of Teutoburg) to enable a philological approach within an emotional/narrative process. New philologically accurate reconstructions (i.e archaeological finds hedged in the Museum’s collection) are integrated with 3D historical sets caming form previous Cineca projects. Mixed movie-making techniques, such as Blender rendering, Chroma key and Machinima animation, implemented an ad hoc production pipeline in order to define times and costs which could be supported by a small production.[ES] El proyecto de "Marcus Caelius, el valor de la memoria" es una breve película de animación de 8 minutos ambientada en la Bolonia romana (Bononia) durante el periodo del emperador Augusto, que surge de una iniciativa del Museo Arqueológico de Bolonia, en colaboración con Cineca. Este proyecto, basado en un famoso hecho histórico (la batalla de Teutoburgo), quiere proponer un enfoque filológico dentro de un proceso emocional/narrativo, definiendo una pipeline de producción apropiada (que incluye renderizado de Blender, Chroma key y animación Machinima) para definir tiempo y costes que puedan ser cubiertos por un pequeña producción. Nuevas reconstrucciones filológicamente adecuadas (restos arqueológicos en la Colección del Museo), se integran dentro de sets en 3D que proceden deproyectos anteriores de Cineca.The research leading to these results is partly funded by the EU Community's FP7 ICT under the V-MusT.net Project (Grant Agreement 270404). The publication reflects only the author’s views and the Community is not liable for any use that may be made of the information contained therein. Neither the V-MusT.net consortium as a whole, nor a certain participant of the V-MusT.net consortium, warrant that the information contained in this document is capable of use, nor that use of the information is free from risk, and accepts no liability for loss or damage suffered by any person using this information.Bentini, L.; De Luca, D.; Donati, C.; Giovetti, P.; Guidazzoli, A.; Guidi, F.; Marchesi, M.... (2012). The Marcus Caelius Project: a transmedial approach to support cultural communication and educational activities at the Civical Archaeological Museum of Bologna. Virtual Archaeology Review. 3(7):82-85. https://doi.org/10.4995/var.2012.4393OJS828537ANTINUCCI, F. (2010): Comunicare nel museo. Con DVD. Percorsi Laterza. Laterza.BORGATTI, C. et al. (2004): "Databases and virtual environments: a good match for communicating complex cultural sites". in ACM SIGGRAPH 2004 Educators program (New York, NY, USA, 2004), SIGGRAPH '04, ACM. http://dx.doi.org/10.1145/1186107.1186143DELLI PONTI, Francesca et al. (2011): "A Blender open pipeline for a 3D animated historical short film", in Proceeding of the 12th International Symposium on Virtual Reality, Archaeology and Cultural Heritage - Short and Project Papers, VAST 2011.JUNG, Y. et al. (2011): "X3DOM AS CARRIER OF THE VIRTUAL HERITAGE", International Workshop 3D-ARCH, 4, 2011, Trento.O'REILLY, T. (2003): "The Architecture of Participation", [online] http:// www.oreillynet.com/lpt/wlg/3017 [Consult: 14-04-2012]

Into the Un(Known). Unveiling Science's intrinsic Art

Entrerete in un mondo nuovo e quasi astratto, apparentemente innaturale. Sarete circondati da suoni e immagini familiari e allo stesso tempo distanti dalla vostra quotidianità. Gli eventi in cui vi troverete immersi sono comuni nella vita di tutti i giorni, anche se non li riconoscete perché “silenziati”. Sono, infatti, fenomeni che acquistano importanza su scale molto grandi, cosmiche potremmo dire, e in condizioni fisiche incompatibili con la vita umana. A raccontarvi questo meraviglioso mondo sarà la “voce” familiare della luce, la radiazione elettromagnetica prodotta dalle varie sorgenti astrofisiche sparse nell’Universo, il principale canale di comunicazione a disposizione degli astronomi per indagare i più reconditi segreti del Cosmo. La luce, esploratrice instancabile, ci racconta gli scenari in cui è stata generata: esplosioni di Supernovae, materia che cade in un buco nero, brillamenti solari, e molto altro. Fenomeni lontani e misteriosi che sfuggono alla nostra esperienza diretta, ma che da anni sono al centro delle ricerche scientifiche più avanzate. Preparatevi ad entrare nell'ignoto, lasciate che la luce vi mostri l'invisibile

Escenarios virtuales interactivos y su aplicación a la arqueología. El proyecto DHER: una propuesta de trabajo

En los últimos años, las técnicas informáticas y la realidad virtual han extendido sus capacidades al campo de la percepción, generando posibles interacciones entre simulaciones numéricas y datos experimentales. Así, las aplicaciones de la realidad virtual estarán estrictamente unidas a la visualización científica. En este sentido, hemos pretendido integrar los contenidos del Proyecto DHER –Domus Herculaniensis Rationes– de la Universidad de Bolonia con la visualización científica, con el objetivo de visualizar e interactuar con la información arqueológica, en diferentes niveles de detalle. Decidimos reali- zar un modelo 3D, reflejo de la complejidad arquitectónica del sitio arqueológico, no solo en su geometría básica, sino también en aquellos datos que nos sirven para contextualizar mejor la información, como por ejemplo, el aparato decorativo de la arquitectura doméstica de Herculano, en la que investigadores y técnicos del proyecto DHER están trabajando

Rigore filologico e comunicazione al pubblico: l’esperienza Cineca nel tempo

ItLa capacità di comunicare contenuti complessi non deve essere una preoccupazione limitata alla divulgazione scientifica: anche le applicazioni informatiche dedicate ai beni culturali devono assumere il momento comunicativo come fondante sia nella democratizzazione della conoscenza sia nella capacità di attrarre e coinvolgere un pubblico ampio e, possibilmente, internazionale. Cineca, nella sua ormai più che decennale esperienza, ha presto sposato questo indirizzo, che si articola ora su due diverse prospettive: la creazione di eventi emozionali e coinvolgenti e la realizzazione di applicazioni che mirino più alla partecipazione attiva degli utenti nello sviluppo del prodotto finale.EnThe ability to communicate complex contents should not be a concern limited to science: even computer applications dedicated to cultural heritage should consider communication as the foundation of both the democratisation of knowledge and the opportunity to attract and engage a wide and, possibly, international audience. Cineca, in his more than ten year experience, has soon acknowledged this approach, which has now led towards two different perspectives: the creation of emotional and engaging events, and the creation of applications aiming at a more active participation of users in the development of the final product

Cloud Computing and Virtual Heritage: The Social Media-Oriented Paradigm Experienced at Cineca

Dalla collaborazione di archeologi (Antonella Coralini) e tecnologi nasce questo contributo, che focalizza l'attenzione sulle potenzialit\ue0 di ricaduta sociale del Cloud Computing, con focus sul caso di studio Pompei

MOBIE: A movie brain interactive editor

Interactive cinema will soon be a reality, following the current evolution of computer games. So far, however, interactivity is still limited, in particular because it is based on conscious operations of the viewer (e.g. through buttons, joystick, keyboards, voice, gestures). Instead, it would be desirable to adapt the movie plot to the viewers state of mind, without the need of deliberate actions, just by means of thoughts, unconscious preferences, and feelings. Such an interaction would represent an interesting alternative to traditional ways of movie watching, and an advance with respect to more mechanical types of interactivity

Archeologia virtuale e supporti informatici nella ricostruzione di una domus di Pompei

The “domus del Centenario” is one of the largest houses in Pompei, and the focus of a far-reaching project of study and valorisation, based on an agreement between the Soprintendenza Archeologica of Pompei and the University of Bologna (Department of Archaeology). Its aim is to experiment with the use of a virtual reconstructive model to better contribute to both research and instructional aspects. An approach to build virtual environments for education in archaeology is described, in which many actors are involved. The required equipment, the professional skills and the related job planning issues are discussed. Virtual Archaeology products may be directed through many channels. Virtual sets, where real actors play in virtual reconstructions, offer new education opportunities to a large audience. PDA based interactivity enhances user-centric communication. The purpose of this paper is also to discuss a user-centric multichannel system, providing access to Virtual Archaeology based contents, both on-site and off-site; while the information base is shared, the interface devices are channel-specific and are calibrated to the fruition context. The system is called MUSE and is developed by a private company (DUCATI SISTEMI S.p.A.). The key system component is Whyre, an interactive and mobile device, designed to act as a personal virtual guide and to provide knowledge through words and images, on-site. Whyre technology is hidden behind its interface and shape: it carries inside a tiny PC-like computer equipped with a 3D-graphics accelerator and augmented with location detection sensors. It is wireless connected to a site server and is context-aware, so that only location and context relevant contents are submitted for the visitor’s attention. The display size is 6.4 inches and its resolution is 640x480 pixels. Several types of Virtual Archaeology based contents may be displayed. The paper reviews the Whyre architecture as well as the context production framework for the entire multichannel system. Eventually a visit experience with Whyre in Pompei, from Porta Marina to the “domus del Centenario”, is described, and the impact of delivering location-specific contents originated by virtual archaeological reconstructions is discussed