“Matera: tales of a city” project: an original multiplatform guide on mobile devices

[EN] Matera città Narrata is a project coordinated by CNR ITABC and financed by the Agency of Tourist Promotion of Basilicata region, aimed at the creation of a digital platform able to support the public before and during the visit of Matera (World Heritage since 1993), providing cultural contents by multiple communicative formats and access possibilities. The main components of the project are: 1) the web site, accessible in remote and adapted also from smartphone, 2) cultural contents and applications for mobile devices (old style mobile phone, smartphone, iPad) with different operative systems. Every user can reach cultural contents in a simple way, choosing the communicative format he prefers and supported by the technology he owns. In this paper we'll describe, more in detail, the applications developed.[ES] Matera città Narrata es un proyecto coordinado por el CNR ITABC y financiado por la Agencia de Promoción Turística de la región de Basilicata, dirigido a la creación de una plataforma digital capaz de guiar al público antes y durante la visita a la ciudad de Matera (Patrimonio de la Humanidad desde 1993), proporcionando contenidos culturales en múltiples formatos de comunicación y posibilidades de acceso. Los componentes principales del proyecto son el primer lugar el sitio web, accesible y adaptado también a smartphone, y, en segundo término los contenidos culturales y las aplicaciones para dispositivos móviles (teléfono móvil convencional, smartphone, iPad) con diferentes sistemas operativos. Cada usuario puede llegar a los contenidos culturales de una manera sencilla, elegir el formato de comunicación que prefiera en función de la tecnología que posee. En este artículo se describen, más en detalle, las aplicaciones desarrolladas.My acknowledgements to APT Basilicata for supporting the project, Francesco Antinucci from CNR-ISTC for the scientific coordination of the storytelling, the Superintendency for Architectonic and Environmental Heritage of Basilicata Region together with Francesca Sogliani and Dimitris Roubis from CNR IBAM for the historical support, the members of the scientific committee of the project, our colleagues from CNR ITABC that collaborated to the creation of cultural contents: Stefano Borghini and Raffaele Carlani, Nicola Montesano, Claudio Rufa, Bartolomeo Trabassi, Sofia Pescarin, Marco Di Ioia, Augusto Palombini, Sara Zanni, Belen Jimenez an all the people that gave their fundamental contribute.Pietroni, E. (2012). “Matera: tales of a city” project: an original multiplatform guide on mobile devices. Virtual Archaeology Review. 3(7):68-72. https://doi.org/10.4995/var.2012.4390OJS687237ANTINUCCI, F. (2004): Comunicare nel Museo, Laterza.ANTINUCCI, F. (2007): Musei Virtuali, Laterza, BariCAMERON, F. & KENDERDINE, S. (2007): Theorizing Digital Cultural Heritage: a critical discourse, Mit Press. http://dx.doi.org/10.7551/mitpress/9780262033534.001.0001DEMETRIO, R. (2009): Matera. Forma et Imago urbis, Laterza, Bari.FONSECA, C.D., DEMETRIO, R., GUADAGNO, G. (1999): Matera, Laterza, Bari.FONSECA, C.D. (1978): Habitat - Strutture - Territorio, Galatina.GATTINI, G. (1882): Note storiche sulla cittˆ di Matera, Stab. Tip. Perotti, Napoli.GIBSON, J. (1979): The Ecological Approach to Visual Perception, Lawrence Erlbaum Associates. Hillsdale NJ.FORTE, M. ET AL. (2008): La Villa di Livia, un percorso di archeologia virtuale, Erma di Bretschneider, Roma.LAUREANO, P. (1993): Giardini di pietra: i Sassi di matera e la civiltà mediterranea, Bollati Beringhieri, Torino.LEVITA, M. (2008): Il castello di Melfi. Storia e architettura, Mario Adda Editore, Bari.TROPEANO, M. (2003): Il Parco Archeologico, Storico, Naturale delle Chiese Rupestri del Materano, in "Geologia dell'Ambiente" Suppl 1/2003.ROTA, L., CONESE, F., TOMMASELLI, M. (1990): Matera:storia di una città, BMG, Matera.VOLPE, F.P. (1818): Memorie storiche profane e religiose sulla città di Matera, Stamperia Simoniaca, Napol

Interacting with virtual reconstructions in museums: The etruscanning project

Starting from our experience in this domain, we discuss some fundamental concepts about the potentialities of the virtual reconstructions of cultural sites inside museums, with a specific focus on the communication needs, the design, the combination of media, the interaction interfaces, and the embodiment. We conceive a virtual reconstruction as a digital ecosystem, whose main peculiarities are (1) 3D reconstruction, (2) inclusivity, and (3) interactivity. A virtual reconstruction, in a wide sense, should integrate different levels of visualization, both realistic and symbolic; 3D models; metadata; storytelling; behaviors; and tools of visualization and interaction, in order to "reconstruct" and communicate a cultural context, an ecosystem where all the information is integrated. Despite the great advancements of the last years in the digitization process, computer graphics techniques, and archiving strategies, a basic limit of most of virtual museums is that they do not fire up the attention and the involvement of the public: they lack stimulating activities for visitors, narratives metaphors, and emotional impact. The interaction interfaces are not always simple to understand and to control in a few minutes, and they can generate a sense of frustration that causes users to abandon the application after a short and superficial approach. No gap should exist between knowledge and communication. But how can we translate the complexity of the knowledge in appealing to users and into simple applications that fit with the public's need? This article focuses on some communication rules and criteria that are often considered of minor importance by the researchers working in the field of digital cultural heritage but that are really essential to cultural transmission, especially inside museums. We believe that a stronger collaboration between research institutions and museums and among different disciplines would be recommended. Given this premise, we present the Etruscanning EU project, developed in 2011- 2013, focused on the virtual reconstruction of two important Etruscan tombs of the Orientalizing period: the Regolini-Galassi tomb in Cerveteri and the tomb n.5 of Monte Michele in Veii. © 2014 ACM

Natural interaction in Virtual Environments for Cultural Heritage: Giotto in 3D and Etruscanning study cases

[EN] A basic limit of most of VR applications created by the scientific community and reproducing cultural sites or artefacts is that they do not fire up the attention of public, in comparison with the great potentialities of VR system for cultural transmission: they are often lacking in emotional storytelling and difficult to manage. An important factor is the need of more natural and simple interfaces, especially for applications hosted inside museums. Starting from our experience in this domain, we propose new metaphors of narration and paradigm of interaction based on natural interfaces (body movements), presenting three study cases: “The Rule confirmation: virtual experience among Giotto's characters”, “Etruscanning3D”, “Virtual Exploration of the ancient Pharmacy of S. Maria della Scaletta Hospital at Imola”.[ES] Un límite básico de la mayoría de las aplicaciones de realidad virtual creadas por la comunidad científica que reproducen sitios culturales o artefactos es que no logran activar la atención del público, en contraposición y contraste con las grandes potencialidades que ofrecen los sistemas de RV para la transmisión cultural. A menudo estas aplicaciones carecen de una narración emocional y son difíciles de manejar. Un factor importante a tener en cuenta es la necesidad de generar interfaces más naturales y sencillos, especialmente para las aplicaciones alojadas en el interior de los museos. A partir de nuestra experiencia en este campo, se proponen nuevas metáforas de narración y paradigmas de interacción basados en interfaces naturales (movimientos corporales). Para ello se presentan tres casos de estudio:“La confirmación de la regla: experiencia virtual entre los personajes de Giotto”, “Etruscanning3D”, y “Exploración Virtual de la antigua Farmacia del hospital de S. Maria della ScaletPietroni, E.; Rufa, C. (2012). Natural interaction in Virtual Environments for Cultural Heritage: Giotto in 3D and Etruscanning study cases. Virtual Archaeology Review. 3(7):86-91. https://doi.org/10.4995/var.2012.4394OJS869137ALISI T., DEL BIMBO A., VALLI A. (2005): "Natural interfaces to enhance visitors' experiences", IEE Multimedia, vol. 12, nº 3.ANTINUCCI, F. (2004): Comunicare il museo, Laterza, Roma.ANNUNZIATO, M., BONINI, E., PIERUCCI, P., PIETRONI, E. (2008): "Cultural mirrors: an epistemological approach to artificial life for cultural heritage communication", in Digital Media and its Applications in Cultural Heritage, edited by Jamal Al-Qawasmi, Michele A. Chiuni, sabry El-Hakim, pp. 219- 135.BASILE, G. (Ed.) (2010): I colori di Giotto. La Basilica di Assisi: restauro e restituzione virtuale, Silvana Editore, Milano.BATESON, G. (1972): Steps to Ecology of Mind, San Francisco: Chandler Press.BATESON, G. (1979): Mind and Nature: a necessary unit, New York: Dutton.CANTONI, V., CELLARIO, M., PORTA, M. (2004): "Perspectives and challenges in e-learning: towards natural interaction paradigms", in Journal of Visual Languages & Computing, Volume 15, Issue 5, pp. 333- 345. http://dx.doi.org/10.1016/j.jvlc.2003.10.002CASTELLANO, G., BRESIN, R., CAMURRI, A., VOLPE, G. (2007): "Expressive control of music and visual media by full-body movement", in Proceedings of the Conference on New Interfaces for Musical Expression (NIME07), New York, NY, USA http://dx.doi.org/10.1145/1279740.1279829CASTELLANO, G., VILLALBA, S.D., CAMURRI, A. (2007): "Recognising Human Emotions from Body Movement and Gesture Dynamcs", in Proceedings of the 2nd International Conference on Affective Computing and Intelligent Interaction, Lisbon September.FORTE, M., PIETRONI, E., RUFA, C. (2002): "Musealising the Virtual: The Virtual Reality Project of the Scrovegni Chapel of Padua, in VSMM Proceedings of the Eighth International Conference on Virtual Systems and Multimedia-"Creative and Digital Culture", pp 43-52.FORTE, M. (ed.) (2008): La Villa di Livia, un percorso di ricerca di archeologia virtuale, ed. Erma di Bretschneider, Roma.HUPPERETZ, W., PIETRONI, E., PLETINCKX, D., SANNIBALE, M. (2011): "The Regolini Galassi Tomb revisited. 3D reconstruction as a research instrument", in Etruscans, eminet women and powerful men, edited by Patricia S. Lulof, Iefke van Kampen, ed. W Books, pp. 172-176.MELLET-D'HUART, D. (2006): "A Model of (En)Action to approach Embodiment: A Cornerstone for the Design of Virtual Environments for Learning", in WIN W. & HEDLEY N., Eds. Journal of Virtual reality, special issue on education. Springer London. Volume 10, Numbers 3-4 / December, 2006, pp. 253-269. http://dx.doi.org/10.1007/s10055-006-0038-2PIETRONI, E., ANTINUCCI, F. (2010): " The Approval of the Franciscan Rule". Virtual Experience among the Characters of Giotto's Work", in Proceedings of the 11th International Symposium on Virtual Reality, Archaeology and Cultural Heritage VAST (2010), edited by A. Artusi, M. Joly- Parvex,G. Lucet, A. Ribes, and D. Pitzalis.RYAN, M.L. (2001): "Narrative as Virtual Reality: Immersion and Interactivity" in Literature and Electronic Media, Baltimore and London, Johns Hopkins University press, HB, pp. 399.VARELA, F., THOMPSON, E. - ROSCH, E. (1991): "The Embodied Mind. Cognitive Science and Human Experience", MIT Press, Cambridge. Natural Interaction, article on Museum practise: http://naturalinteraction.org/index.php entry=entry070224- 123657VARELA, F. (1990): "Il corpo come macchina ontologica", in M. Ceruti, L. Preta, pp. 45-54

VR cooperative environments for the interpretation and reconstruction of the archaeological landscape

[ES] The Internet 2.0 has diffused a new approach enhancing creativity, multimedia communication, information sharing, cooperation: millions of people in the world are expressing the will to interconnect, co-create digital contents and share experience in the cyberspace. The possibility to develop complex dynamics of interaction inside the virtual domain are determining new scenarios in the field of cultural transmission. In this paper two case studies will be presented: the “Integrated Technologies of robotics and virtual environment in archaeology” project (supported by the Italian Ministry of Research), and the “Virtual Rome” project, two virtual collaborative environments in the web for the interpretation, reconstruction and 3D exploration of archaeological contexts.Pietroni, E.; Pescarin, S. (2010). VR cooperative environments for the interpretation and reconstruction of the archaeological landscape. Virtual Archaeology Review. 1(2):25-29. https://doi.org/10.4995/var.2010.4680OJS252912ANNUNZIATO M., BONINI E., PIERUCCI P.,, PIETRONI E. (2008): "Cultural mirrors: an epistemological approach to artificial life for cultural heritage communication", in Proceedings DMACH 2008, Digital Media and its Applications in Cultural Heritage, 3-6 November, 2008, University of Petra, Amman, Jordan.FORTE M. e AA.VV (2008). "La Villa di Livia, un percorso di ricerca di archeologia virtuale", ed. Erma di Bretschneider, Roma.FORTE M, PESCARIN S., PIETRONI E. (2005): "The Appia Antica Project". In The reconstruction of Archaeological Landscapes through Digital Technologies, Forte M. Ed., BAR Int. Series.pp. 79-92GEROSA M. (2006): Second Life, Meltemi, RomeJONES Q. (2003): "Applying Cyber-Archaeology", in Proceedings of the eighth European Conference on Computer-Supported Cooperative Work, Helsinki, Finland, pp. 41-60. http://www.ecscw.org/2003/003Jones_ecscw03.pdfMATURANA H., VARELA F. (1980): "Autopoiesis and Cognition: The Realization of the Living", in: Boston Studies in the Philosophy of Science, ed. by Robert S. Cohen and Marx W. Wartofsky, vol. 42, Dordecht (Holland): D. Reidel Publishing Co. http://dx.doi.org/10.1007/978-94-009-8947-4PESCARIN S. ET ALII (2008): "Back to 2nd AD". In VAST 2008 Proceedings., Braga Portugal, 2008SCHROEDER R. (1997): "Networked Worlds: Social Aspects of Multi-User Virtual Reality Technology", in Sociological Research Online, vol. 2, no. 4. http://www.socresonline.org.uk/2/4/5.html http://dx.doi.org/10.5153/sro.291ZEKI S. (1999): "Inner Vision". Oxford Univ. Press

Etruscanning 3D project. The 3D reconstruction of the Regolini Galassi Tomb as a research tool and a new approach in storytelling

[EN] In the “Etruscanning3D” european project framework, the virtual reconstruction of the Regolini Galassi tomb, in Cerveteri, has been realized, in order to recontextualize its precious funerary goods, today preserved in the vatican Museums, in their ancient space, digitally represented in 3D. The reconstruction has been preceded by a huge work of data collection, reinterpretations, topographical acquisitions through a variety of techniques, digital restorations, in order to create a plausible simulation of how the tomb could appear when it was closed, at the half of the VII century BC. The final purpose of the VR application is communication inside museums, so the narrative approach and the metaphors of interactions played another key role.[ES] En el proyecto europeo “Etruscanning3D” basado en la reconstrucción virtual de la tumba Regolini Galassi, en Cerveteri, se ha realizado con el fin de volver a contextualizar sus valiosos bienes funerarios, hoy conservados en los Museos Vaticanos, en su espacio original representado digitalmente en 3D. La reconstrucción ha estado precedida por un enorme trabajo de recopilación de datos, reinterpretaciones, adquisiciones topográficas a través de una gran variedad de técnicas,restauraciones digitales, etc., con el objetivo de crear una simulación plausible sobre el aspecto que pudo presentar la tumba cuando se cerró, a mediados del siglo VII antes de Cristo. El objetivo final de la aplicación VR ha sido generar un sistema de comunicación utilizable en el interior de los museos, por lo que el enfoque narrativo y las metáforas de interacción han jugado un papel clave.Hupperetz, W.; Carlani, R.; Pletinckx, D.; Pietroni, E. (2012). Etruscanning 3D project. The 3D reconstruction of the Regolini Galassi Tomb as a research tool and a new approach in storytelling. Virtual Archaeology Review. 3(7):92-96. https://doi.org/10.4995/var.2012.4395OJS929637ANTINUCCI, F. (2004): Comunicare il museo, Laterza, Roma.AA.VV. (2001): Principi Etruschi tra Mediterraneo ed Europa, catalogo mostra (Bologna 2000-2001), Venezia 2000.COLONNA, G. DI PAOLO, E. (1999): "Il letto vuoto, la distribuzione del corredo e la della Tomba Regolini Galassi", in Etrusca et Italica, scritti in memoria di Massimo Pallottino edited by Università La Sapienza, Dip. Di Scienze Storiche, Archelogiche ed Antropologiche dell'Antichità_sez. Di Etruscologia &CNR, Vol.I, Istituti Editoriali e Poligrafici Internazionali, Pisa-Roma.FORTE, M. (2008): "La Villa di Livia, un percorso di ricerca di archeologia virtuale", ed. Erma di Bretschneider, RomaFORTE, M., PIETRONI, E., RUFA, C. (2002): "Musealisin the Virtual: The Virtual Reality Project of the Scrovegni Chapel of Padua", in VSMM 2002, Proceedings of the Eighth International Conference on Virtual Systems and Multimedia-"Creative and Digital Culture". Gyeonggju, Korea, 25-27 September 200, pp. 43-52.HUPPERETZ ,W., PIETRONI, E., PLETINCKX, D., SANNIBALE, M. (2011): "The Regolini Galassi Tomb revisited. 3D reconstruction as a research instrument", in Etruscans, eminet women and powerful men, edited by Patricia S. Lulof, Iefke van Kampen, ed. W Books, pp. 172- 176.MELLET-D'HUART, D. (2006): "A Model of (En)Action to approach Embodiment: A Cornerstone for the Design of Virtual Environments for Learning", in WIN W. & HEDLEY N., Eds. Journal of Virtual reality, special issue on education. Springer London. Volume 10, Numbers 3-4 / December, 2006, pp. 253-269. http://dx.doi.org/10.1007/s10055-006-0038-2PARETI, L. (1947): La Tomba Regolini - Galassi del Museo Gregoriano Etrusco e la civiltà dell'Italia centrale nel sec. VII a.C., Città del Vaticano 1947.SANNIBALE, M. (2008): "Gli ori della Tomba Regolini-Galassi: tra tecnologia e simbolo. Nuove proposte di lettura nel quadro del fenómeno Orientalizzante in Etruria", in MEFRA 120.2, pp. 337-367.SANNIBALE, M. (2008): "Iconografie e simboli orientali nelle corti dei principi etruschi", in Byrsa 7,1-2, pp. 85-123.SANNIBALE, M. (1995): "Osservazioni su alcuni argenti della tomba Regolini Galassi: tecniche antiche e interventi moderni", in E. Formigli (ed.), Preziosi in Orio, Avorio, Osso e Corno. Arte e tecniche degli artigiani etruschi, Atti del seminario di studi ed esperimenti (Murlo 1992), Siena, pp. 89-98.SANNIBALE, M., BURANELLI, F. (2003): "Vaticano. Museo Gregoriano Etrusco", Milano, pp. 35-214

e-Archeo. A pilot national project to valorize Italian archaeological parks through digital and virtual reality technologies

Commissioned to ALES spa by the Ministry of Culture (MiC), the e-Archeo project was born with the intention of enhancing and promoting knowledge of some Italian archaeological sites with a considerable narrative potential that has not yet been fully expressed. The main principle that guided the choice of the sites and the contents was of illustrating the various cultures and types of settlements present in the Italian territory. Eight sites were chosen, spread across the national territory from north to south, founded by Etruscans, Greeks, Phoenicians, natives and Romans. e-Archeo has developed multimedia, integrated and multi-channel solutions for various uses and types of audiences, adopting both scientific and narrative and emotional languages. Particular attention was paid to multimedia accessibility, technological sustainability and open science. The e-Archeo project was born from a strong synergy between public entities, research bodies and private industries thanks to the collaboration of MiC and ALES with the CNR ISPC, 10 Italian Universities, 12 Creative Industries and the Italian National Television (RAI). This exceptional and unusual condition made it possible to realise all the project’s high-quality contents and several outputs in only one and a half years

UX Designer and Software Developer at the Mirror: Assessing Sensory Immersion and Emotional Involvement in Virtual Museums

Virtual Museums (VMs) and their audiences have always been studied as separated worlds. Recently the importance of cross-methodological studies has been accepted by the academic sector for their usefulness in the process of assessing the impact of such VMs. Hedonic aspects, such as emotions, senses, perception, and environmental atmosphere rather than technicalities, like usability and affordance, have indeed played a precise and crucial role in the meaning-making of the world around us. This contribution will highlight the need for a collaborative sharing of ideas among designers and developers, creators and technicians, in order to reach sensory immersion and emotional involvement in VMs that will translate into enhanced participation and the predisposition to assimilate and memorize cultural contents. It has been stated that “a virtual museum is a digital entity.” As such, it is inevitably based on technology, on its user interface (UI), on the visualization solutions it employs, and on its usability and ability to interact with the end user in order to transfer a certain message. VMs are designed to complement, enhance, or augment the ordinary museum experience through contextualization, narration, personalization, interactivity and richness of content. This contribution originates not only from the lessons learned in twenty years of research by CNR ITABC, but it also moves one step further in the direction of exchanged experiences and good practices between the humanistic and the technological sectors, therefore contributing to the promotion of lifelong learning in Virtual Museums

The Virtual Museum of the Tiber Valley Project

[EN] The aim of the Virtual Museum of the Tiber Valley project is the creation of an integrated digital system for the knowledge, valorisation and communication of the cultural landscape, archaeological and naturalistic sites along the Tiber Valley, in the Sabina area between Monte Soratte and the ancient city of Lucus Feroniae (Capena). Virtual reality applications, multimedia contents, together with a web site, are under construction and they will be accessed inside the museums of the territory and in a central museum in Rome. The different stages of work will cover the building of a geo-spatial archaeological database, the reconstruction of the ancient potential landscape and the creation of virtual models of the major archaeological sites. This paper will focus on the methodologies used and on present and future results.[ES] El objetivo del proyecto del Museo Virtual del Valle del Tiber es la creación de un sistema digital integrado para el conocimiento, la valorización y la comunicación del paisaje cultural, arqueológico y natural a lo largo del valle del Tíber, en la zona Sabina entre Monte Soratte y la antigua ciudad de Lucus Feroniae (Capena). Actualmente están en proceso de construcción varias aplicaciones de realidad virtual, contenidos multimedia, junto con un sitio web, a los que se tendrá acceso en diversos museos de la zona así como en un museo central ubicado en Roma. Las diferentes fases de trabajo se centrarán en la construcción de una base de datos arqueológicos geo-espacial, en la reconstrucción del paisaje antiguo y en la creación de los modelos virtuales de los sitios arqueológicos más importantes. Este documento se centra en la metodología utilizada, desgranado los resultados presentes y futuros esperados.Arnoldus Huyzendveld, A.; Di Ioia, M.; Ferdani, D.; Palombini, A.; Sanna, V.; Zanni, S.; Pietroni, E. (2012). The Virtual Museum of the Tiber Valley Project. Virtual Archaeology Review. 3(7):97-101. https://doi.org/10.4995/var.2012.4396OJS9710137ADAM, J.P. (1988): L'arte di costruire presso i romani, Longanesi, Milano.CAMBI, F. (2004): "Le campagne di Falerii e di Capena dopo la romanizzazione", in Bridging the Tiber, London, pp. 75-102.COARELLI, F. (2009): "La romanizzazione della Sabina", in F. Coarelli et alii, "Falacrinae. Le origini di Vespasiano", Roma, pp. 11-17.DI GIUSEPPE, H. (2005): "Villae, villulae e fattorie nella Media Valle del Tevere, in Roman Villas around the Urbs: interaction with landscape and environment", in the Proceedings of a conference held at the Swedish Institute in Rome (September, 17-18, 2004), Roma.GROS, P. & TORELLI, M. (2007): Storia dell'urbanistica. Il mondo romano, Laterza, Roma.MORACHIELLO, P. & FONTANA, V. (2009): L'architettura del mondo romano, Laterza, Roma.PAROTTO, M. (2008): "Evoluzione paleogeografica dell'area romana: una breve sintesi", in Funiciello R., Praturlon A. & Giordano G. (ed) La Geologia di Roma dal centro storico alla periferia. Memorie Descrittive della Carta Geologica d'Italia, LXXX, pp. 25-39.SANTORO, P. (2006): "L'Etruria e i Sabini del Tevere: influenze culturali e commerciali", in Archeologia in Etruria meridionale, atti delle giornate di studio in ricordo di Mario Moretti (Civita Castellana, 14-15 novembre 2003), Roma, pp. 49-64.STERNINI, M. (2004): La Romanizzazione della Sabina Tiberina, Bari.TARQUINI, S., ISOLA, I., FAVALLI, M., MAZZARINI, F., BISSON, M., PARESCHI, M.T., BOSCHI, E. (2007): "TINITALY/01: a new Triangular Irregular Network of Italy", in Annals of Geophysics, nº 50, pp. 407-425.TARQUINI, S., VINCI, S., FAVALLI, M., DOUMAZ, F., FORNACIAI, A., NANNIPIERI, L. (2012): "Release of a 10-m-resolution DEM for the Italian territory: Comparison with global-coverage DEMs and anaglyph-mode exploration via the web", in Computers & Geosciences 38, 168-170. doi: doi:10.1016/j.cageo.2011.04.018. http://dx.doi.org/10.1016/j.cageo.2011.04.018VITRUVIO, De Architectura

Mapping the Soundscape in Communicative Forms for Cultural Heritage: Between Realism and Symbolism

The dimension of sound plays a central role as a form of cultural representation. Sound is a means of knowledge and experiential involvement, as it is inextricably linked to place and space, mind and body, cultural context and emotion. This contribution aims to explore how sound design follows different paradigms and methods in the various media. Virtual reality, videogame, cinema and documentary have differently codified rules to provide acoustic verisimilitude to the simulated space, to orient or stimulate the user, to suggest contents or evoke events and to emotionally involve the public. These rules follow artistic principles closer to psychoacoustics than to scientific reproduction of sound in the simulated space. Under what conditions, however, is the scientific simulation of an acoustic space preferable to the more common paradigms of psychoacoustics? How could this be created? Immersive and non-immersive virtual reality for cultural heritage is currently the field of experimentation most open to future developments. Some virtual reality and mixed reality applications will be presented, dedicated to archaeological or historical-artistic contexts, where a fundamental relationship between sound and multisensory interaction has been created