Marco de trabajo de integración y flujo de trabajo para la visualización virtual del patrimonio cultural. Revisita del montículo Çukuriçi Höyük, Turquía

[EN] This article sets a framework for computer-based visualisations of cultural heritage sites. The project focuses on a workflow for a visualisation illustrated on a specific solution for the site of Çukuriçi Höyük, a tell settlement in Turkey. With the virtual presentation, an interdisciplinary research group tries to offer complex scientific results to the general public as well as to experts. The team utilised data acquisition and communication techniques, interpretative approaches, and dissemination methods. The three-dimensional (3D) outcome is based on a large amount of scientific data, usually available only via analogue or digital publications for a specialised audience. The work focused on constructed and personal authenticity to reach the viewer’s feelings. As an interpretative narrative, the daily lives of the inhabitants were selected. A communication plan was constructed, and a video animation with narration and a musical background was selected as the most appropriate communication tool. The movie was divided into four chapters (Introduction, Neolithic Period, Chalcolithic Period and Early Bronze Age Period). A separate webpage was designed to provide additional information when the video is viewed online. The webpage was divided into tabs that describe each chapter and three additional topics (Visualisation Process, Further Reading, and Credits). The video was shared in different settings, e.g. at public talks and on social media. The process resulted in a complex workflow that consists of several stages: data acquisition, first interpretation, 3D model creation, communication plan, second interpretation, 3D model adjustment, and dissemination output. Each stage of the workflow serves as an example to show the types of nodes these parts can include. The result is a flexible framework with predefined process stages, which can be re-used for similar projects.[ES] Este artículo define un marco de trabajo de visualizaciones por ordenador de sitios patrimoniales. El proyecto se centra en un flujo de trabajo ilustrado por una solución específica de visualización del sitio de Çukuriçi Höyük, un asentamiento sobre un montículo en Turquía. Con la presentación virtual, un grupo de investigación interdisciplinar intenta ofrecer resultados científicos complejos al público en general, así como a los expertos. El equipo utilizó captura de datos y técnicas de comunicación, así como enfoques interpretativos y métodos de difusión. El resultado tridimensional (3D) está basado en una gran cantidad de datos científicos, normalmente disponibles sólo a través de publicaciones analógicas o digitales orientadas a una audiencia especializada. El trabajo se centró en la construcción y la autenticidad personal para alcanzar al espectador a nivel emocional. Como narrativa interpretativa, se seleccionaró la vida diaria de los habitantes. Se construyó un plan de comunicación y se eligió una animación de vídeo con narración y musica de fondo como la herramienta de comunicación más apropiada. La película se dividió en cuatro capítulos (Introducción, Período Neolítico, Período Calcolítico y Período de la Edad de Bronce Temprano). Se diseñó una página web separada para proporcionar información adicional cuando el video se muestra en línea. La página web se dividió en pestañas que describen cada capítulo y tres temas adicionales (Proceso de visualización, Lectura adicional y Créditos). El vídeo se compartió en diferentes entornos, tales como charlas públicas y en redes sociales. El proceso produjo un complejo flujo de trabajo que consta de varias etapas: captura de datos, primera interpretación, creación del modelo 3D, plan de comunicación, segunda interpretación, ajuste del modelo 3D y difusión. Cada etapa del flujo de trabajo sirve de ejemplo para mostrar los tipos de nodos que estas partes pueden incluir. El resultado es un marco de trabajo flexible con etapas de proceso predefinidas, que pueden reutilizarse en proyectos similares.Lužnik-Jancsary, N.; Horejs, B.; Klein, M.; Schwall, C. (2020). Integration and workflow framework for virtual visualisation of cultural heritage. Revisiting the tell of Çukuriçi Höyük, Turkey. Virtual Archaeology Review. 11(23):63-74. https://doi.org/10.4995/var.2020.13086OJS6374112316th General Assembly of ICOMOS. (2008). ICOMOS Charter for the Interpretation and Presentation of Cultural Heritage Sites. International Journal of Cultural Property, 15(4), 377-383. https://doi.org/10.1017/S0940739108080417Andrade, J. G., & Dias, P. (2020). A phygital approach to cultural heritage: augmented reality at Regaleira. Virtual Archaeology Review, 11(22), 15. https://doi.org/10.4995/var.2020.11663Batarda Fernandes, A. (2018). "But will there be visitors?" Public outreach efforts using social media and online presence at the Côa Valley Museum and Archaeological Park (Portugal). Internet Archaeology, 47. https://doi.org/10.11141/ia.47.5Bergner, M., Horejs, B., & Pernicka, E. (2009). Zur Herkunft der Obsidianartefakte vom Çukuriçi Höyük. Studia Troica 18, 249-271. https://doi.org/10.15496/publikation-27955Britsch, C., & Horejs, B. (2014). The role of textile production and fishing in the EBA metallurgical centre of Çukuriçi Höyük (Turkey). In Egypt and the Levant (Vol. 24, pp. 227-240). https://doi.org/10.1553/s227Copeland, T. (2004). Presenting archaeology to the public: constructing insights on-site. In N. Merriman (Ed.), Public Archaeology (pp. 132-144). Routledge. https://doi.org/10.4324/9780203646052Cots, I., Vilà, J., Diloli, J., Ferré, R., & Bricio, L. (2018). Virtual archaeology: From archaeological excavation to the management and diffusion of heritage. Les cases de la catedral (Tortosa) and the protohistorical settlement of la Cella (Salou), Tarragona. Virtual Archaeology Review, 9(19), 102-113. https://doi.org/10.4995/VAR.2018.9754Davis, E. T., Scott, K., Pair, J., Hodges, L. F., & Oliverio, J. (1999). Can Audio Enhance Visual Perception and Performance in a Virtual Environment? Proceedings of the Human Factors and Ergonomics Society Annual Meeting, 43(22), 1197-1201. https://doi.org/10.1177/154193129904302206Denard, H. (Ed.). (2009). The London Charter for the computer-based visualisation of cultural heritage. http://www.londoncharter.org/fileadmin/templates/main/docs/london_charter_2_1_en.pdfDerde, W., & Ludwig, T. (2016). Heritage Interpretation. In G. Tilkin (Ed.), Professional Development in Heritage Interpretation - Manual (pp. 10-20). Landcommanderij Alden Biesen. http://www.interpret-europe.net/fileadmin/Documents/projects/InHerit/Manual-InHerit-EN.pdfFurukawa, Y., Curless, B., Seitz, S. M., & Szeliski, R. (2009). Reconstructing building interiors from images. 2009 IEEE 12th International Conference on Computer Vision, 80-87. https://doi.org/10.1109/ICCV.2009.5459145Furukawa, Y., Curless, B., Seitz, S. M., & Szeliski, R. (2010). Towards Internet-scale Multi-view Stereo. 2010 IEEE Computer Society Conference on Computer Vision and Pattern Recognition, 1434-1441. https://doi.org/10.1109/CVPR.2010.5539802Galik, A. (2013). Çukuriçi Höyük Zooarchaeology Data. Çukuriçi Höyük Zooarchaeology. https://doi.org/10.6078/M7RF5RZ7Goldstein, A. (1980). Thrills in response to music and other stimuli. Physiological Psychology, 8(1), 126-129. https://doi.org/10.3758/BF03326460Ham, S. H., Carter, J., Beck, L., Cable, T., & Ward, C. (2013). Conversations: Tilden's fifth principle. Journal of Interpretation Research, 18(1), 97-104.Hermon, S. (2008). 3D Modelling and Virtual Reality for the Archaeological Research and Museum Communication of Cultural Heritage. In I. Oberländer-Târnoveanu (Ed.), Museum and the Internet. Presenting Cultural Heritage Resources On-line. Selected Papers from the International Summer Course in Buşteni, Romania, 20th - 26th of September, 2004 (pp. 57-72). Arcaeolingua. https://www.academia.edu/285879/3D_Modelling_and_Virtual_Reality_for_the_Archaeological_Research_and_Museum_Communication_of_Cultural_HeritageHermon, S., & Niccoluci, F. (2018). Digital Authenticity and the London Charter principles. In Authenticity and cultural heritage in the age of 3D digital reproductions. (pp. 37-47). https://doi.org/https://doi.org/10.17863/CAM.27029Hill, S., & Cable, T. T. (2006). The Concept of Authenticity: Implications for Interpretation. Journal of Interpretation Research, 11(1), 55-65.Horejs, B. (2017). Çukuriçi Höyük 1. Anatolia and the Aegean from the 7th to the 3rd Millennium BC. In OREA 5. Austrian Academy of Sciences Press.Horejs, B., Galik, A., Thanheiser, U., & Wiesinger, S. (2011). Aktivitäten und Subsistenz in den Siedlungen des Çukuriçi Höyük. Der Forschungsstand nach den Ausgrabungen 2006-2009. Praehistorische Zeitschrift, 86(1), 31-66. https://doi.org/10.1515/pz.2011.003Howard, P. (2003). Heritage : management, interpretation, identity. Continuum International Publishing.Howland, M. D. (2018). 3D Recording in the Field: Style Without Substance? In Cyber-Archaeology and Grand Narratives (Issue 13, pp. 19-33). Springer International Publishing. https://doi.org/10.1007/978-3-319-65693-9_2Institute for Oriental and European Archaeology (OREA), & 7reasons Medien GmbH. (2016). Çukuriçi Höyük.The World Heritage Site through Time. https://defc.acdh.oeaw.ac.at/cukurici-movie/International Forum of Virtual Archaeology. (2011). Principles of Seville. International Principles of Virtual Archeology (p. 20). http://sevilleprinciples.com/Isenberg, T., Neumann, P., Carpendale, S., Sousa, M. C., & Jorge, J. A. (2006). Non-photorealistic rendering in context. Proceedings of the 3rd International Symposium on Non-Photorealistic Animation and Rendering - NPAR '06, 115-126. https://doi.org/10.1145/1124728.1124747Jones, S., Jeffrey, S., Maxwell, M., Hale, A., & Jones, C. (2018). 3D heritage visualisation and the negotiation of authenticity: the ACCORD project. International Journal of Heritage Studies, 24(4), 333-353. https://doi.org/10.1080/13527258.2017.1378905Kidd, J. (2011). Enacting engagement online: framing social media use for the museum. Information Technology & People, 24(1), 64-77. https://doi.org/10.1108/09593841111109422Knipping, M., Müllenhoff, M., & Brückner, H. (2008). Human induced landscape changes around Bafa Gölü (western Turkey). Vegetation History and Archaeobotany, 17(4), 365-380. https://doi.org/10.1007/s00334-007-0132-8Ludwig, T. (2015). The Interpretive Guide - Sharing Heritage with People (M. H. Glen (Ed.); 2nd ed.). Bildungswerk interpretation. http://www.interpret-europe.net/fileadmin/Documents/projects/HeriQ/the_interpretive_guide_2015_en.pdfLunenburg, F. C. (2010). Communication : The Process, Barriers, And Improving Effectiveness. Schooling, 1(1), 1-11. https://www.mcgill.ca/engage/files/engage/communication_lunenburg_2010.pdfLužnik, N., & Klein, M. (2016). Interdisciplinary workflow for Virtual Archaeology. Digital Heritage International Congress, Digital Heritage 2015, 177-180. https://doi.org/10.1109/DigitalHeritage.2015.7419481Lužnik Jancsary, N., Horejs, B., Ostmann, F., Schwall, C., & Klein, M. (2016). Documentation of the movie 'Çukuriçi Höyük. The World Heritage Site Through Time.' http://defc.digital-humanities.at/movie/Macnamara, J. (2009). The 21st Century Media (R)evolution. In The 21st Century Media (R)evolution (2nd ed.). Peter Lang US. https://doi.org/10.3726/b15339Mayer, R. E., & Anderson, R. B. (1992). The instructive animation: Helping students build connections between words and pictures in multimedia learning. Journal of Educational Psychology, 84(4), 444-452. https://doi.org/10.1037/0022-0663.84.4.444Merriam-Webster.com. (2019a). Reconstructing | Definition of Reconstructing by Merriam-Webster. Merriam Webster. https://www.merriam-webster.com/dictionary/reconstructingMerriam-Webster.com. (2019b). Visualize | Definition of Visualize by Merriam-Webster. Www.Merriam-Webster.Com/Dictionary/Visualize. https://www.merriam-webster.com/dictionary/visualizeMiller, P., & Richards, J. (1995). The good, the bad, and the downright misleading: archaeological adoption of computer visualization. In J. Huggett & N. Ryan (Eds.), CAA94. Computer Applications and Quantitative Methods in Archaeology 1994 (BAR International Series 600) (pp. 19-22). Tempus Reparatum.Mori, K., & Iwanaga, M. (2017). Two types of peak emotional responses to music: The psychophysiology of chills and tears. Scientific Reports, 7(46063), 1-13. https://doi.org/10.1038/srep46063Morris, J., & Boone, M. A. (1998). The Effects of Music on Emotional Response, Brand Attitude, and Purchase Intent in an Emotional Advertising Condition. In J. W. Alba & J. W. Hutchinson (Eds.), NA - Advances in Consumer Research (Vol. 25, Issue 1, pp. 518-526).Quiring, O. (2016). Interactivity. In P. Rössler, C. A. Hoffner, & L. Zoonen (Eds.), The International Encyclopedia of Media Effects (pp. 1-13). John Wiley & Sons, Inc. https://doi.org/10.1002/9781118783764.wbieme0191Reilly, P. (1991). Towards a Virtual Archaeology. In S. Rahtz & K. Lockyear (Eds.), CAA90. Computer Applications and Quantitative Methods in Archaeology 1990 (BAR International Series 565) (pp. 133-139). Tempus Reparatum. http://caaconference.org/proceedings/paper/21_reilly_caa_1990/Roussou, M. (2002). Virtual Heritage: from the research lab to the broad public. In F. Niccolucci (Ed.), Virtual archaeology : proceedings of the VAST Euroconference, Arezzo 24-25 November 2000 (pp. 93-100). Archeopress.Russo, A., Watkins, J., Kelly, L., & Chan, S. (2008). Participatory Communication with Social Media. Curator: The Museum Journal, 51(1), 21-31. https://doi.org/10.1111/j.2151-6952.2008.tb00292.xSalselas, I., & Penha, R. (2019). The role of sound in inducing storytelling in immersive environments. Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound on ZZZ - AM'19, 191-198. https://doi.org/10.1145/3356590.3356619Schwall, C. (2018). Çukuriçi Höyük 2. Das 5. und 4. Jahrtausend v. Chr. in Westanatolien und der Ostägäis. OREA 7. Vienna: Austrian Academy of Sciences Press.Sloboda, J. A. (1991). Music Structure and Emotional Response: Some Empirical Findings. Psychology of Music, 19(2), 110-120. https://doi.org/10.1177/0305735691192002Statham, N. (2019). Scientific rigour of online platforms for 3D visualization of heritage. Virtual Archaeology Review, 10(20), 1. https://doi.org/10.4995/var.2019.9715Stock, F., Ehlers, L., Horejs, B., Knipping, M., Ladstätter, S., Seren, S., & Brückner, H. (2015). Neolithic settlement sites in Western Turkey - palaeogeographic studies at Çukuriçi Höyük and Arvalya Höyük. Journal of Archaeological Science: Reports, 4, 565-577. https://doi.org/10.1016/j.jasrep.2015.10.009Tachikawa, T., Kaku, M., Iwasaki, A., Gesch, D., Oimoen, M., Zhang, Z., Danielson, J., Krieger, T., Curtis, B., Haase, J., Abrams, M., Crippen, R., Carabajal, C., & Meyer, D. (2011). ASTER Global Digital Elevation Model Version 2 - Summary of Validation Results. http://www.jspacesystems.or.jp/ersdac/GDEM/ver2Validation/Summary_GDEM2_validation_report_final.pdfTilden, F. (2009). Interpreting our heritage (4th ed.). The University of North Carolina Press. https://doi.org/973.07 TILWarner, J. L. (1994). Elmalı-Karataş 2: The Early Bronze Age Village of Karataş. In Archaeological monographs. Bryn Mawr College.Weinreich, H., Obendorf, H., Herder, E., & Mayer, M. (2008). Not quite the average: An empirical study of Web use. ACM Transactions on the Web, 2(1), 31. https://doi.org/10.1145/1326561.132656