The use of 3D laser scanning technology in buildings archaeology: the case of Måketorpsboden in Kulturen museum, Lund

This thesis is a project developed with Kulturen Museum in Lund for the documentation of a wooden building from the end of the 18th century. The technology applied is 3D laser scanning. The project wanted to answer several theoretical questions through the study and to conduct a practical case analysis, which lead to the production of a 3D textured model of part of the building. The work has been developed discussing in the beginning the state of the art of building archaeology, describing the different stages of study of buildings through history, from Renaissance to the seventeenth century and with an overlook of the approach of this discipline in the Nordic countries. Subsequently it has analysed the different kind of surveys for a proper archaeological building investigation: the direct survey and the indirect survey, explaining the differences and the technological innovation applied to this field especially during the last 20 years. A detailed paragraph about method of building investigation with the most recent laser scanning technologies illustrates the “pros and cons” of the utilization of 3D laser scanning for archaeological purposes; specific case studies are described. A final comment about the rising problem of handling and storing of data coming from the utilization of those new technologies has been taken in consideration. The last part of the paper is focused on the explanation of the background history of the typology of wooden building I have been studying and the detailed explanation of all the steps done for the actual project, from the acquisition campaign to the post processing of the data. An analysis of the data I got from the creation of the model of a single room has been performed with the examination of the possibility of future developments of the same project

Cyber-Archaeology: Notes on the simulation of the past

[EN] Thirteen years after the book “Virtual Archaeology” (Forte, 1996, 97) it is time to re-discuss the definition, the key concepts and some new trends and applications. The paper discusses the introduction of the term “cyber-archaeology” in relation with the simulation process deriving from the inter-connected and multivocal feedback between users/actors and virtual ecosystems. In this new context of cyber worlds, it is more appropriate to talk about simulation of the past rather than reconstruction of the past. The multivocality of the simulation opens new perspectives in the interpretation process, not imposing the final reconstruction, but suggesting, evocating, simulating multiple output, not “the past” but a potential past. New epistemological models of cyber archaeology have to be investigated: what happens in a immersive environment of virtual archaeology where every user is “embodied” in the cyber space? The ontology of archaeological information, or the cybernetics of archaeology, refers to all the interconnective relationships which the datum produces, the code of transmission, and its transmittability. Because it depends on interrelationships, by its very nature information cannot be neutral with respect to how it is processed and perceived. It follows that the process of knowledge and communication have to be unified and represented by a single vector. 3D information is regarded as the core of the knowledge process, because it creates feedback, then cybernetic difference, among the interactor, the scientist and the ecosystem. It is argued that Virtual Reality (both offline and online) represents a possible ecosystem, which is able to host top-down and bottom-up processes of knowledge and communication. In these terms, the past is generated and coded by “a simulation process”. Thus, from the first phases of data acquisition in the field, the technical methodologies and technologies that we use, influence in a decisive way all the subsequent phases of interpretation and communication. In the light of these considerations, what is the relationship between information and representation? How much information does a digital model contain? What sorts of and how many ontologies ought to be chosen to permit an acceptable transmittability? Indeed, our Archaeological communication ought to be understood as a process of validation of the entire cognitive process of understanding and not as a simple addendum to research, or as a dispensable compendium of data.[ES] Trece años después de la publicación del libro "Arqueología virtual" (Forte, 1996, 97) es el momento de volver a discutir sobre la definición, los conceptos clave y algunas nuevas tendencias y aplicaciones de la arqueología virtual. El presente documento analiza la introducción del término "cyber-arqueología" en relación con el proceso de simulación derivado de la interconexión y la retroalimentación multivocal y entre los usuarios / actores y ecosistemas virtuales. En este nuevo contexto de mundos cibernéticos, es más adecuado hablar de simulación del pasado que de reconstrucción del pasado. La multivocalidad de la simulación abre nuevas perspectivas en el proceso de interpretación, no imponiendo la última reconstrucción, sino sugiriendo, evocando, simulando múltiples resultados, y no "el pasado", sino un potencial pasado. Nuevos modelos epistemológicos de la arqueología cibernética deben ser investigados: Que ocurre en un entorno inmersivo de arqueología virtual cuando cada usuario es "materializado" en el espacio cibernético? La ontología de la información arqueológica, o la cibernética de la arqueología, se refiere a la interconectividad de todas las relaciones que produce el dato, el código de envío, y su transmisibilidad. Porque depende de las interrelaciones, por su propia naturaleza, la información no puede ser neutral con respecto a la forma en que se procesa y percibe. De ello se deduce que el proceso de conocimiento y la comunicación han de ser unificadas y representadas por un único vector. La información 3D se considera como el núcleo del proceso de conocimiento, porque propicia la retroalimentación, entre el usuario, el científico y el ecosistema. Se argumenta que la Realidad Virtual (tanto fuera de línea como en línea) representa un posible ecosistema, que es capaz de ser anfitrión de los procesos de conocimiento y comunicación tanto de arriba a abajo como de abajo a arriba. En estos términos, el pasado se genera y codifica por "un proceso de simulación". Así, desde las primeras fases de adquisición de datos sobre el terreno, las metodologías técnicas así como las tecnologías que usamos, influyen de manera decisiva en todas las fases de interpretación y comunicación. A la luz de estas consideraciones, ¿cuál es la relación entre la información y la representación? ¿Cuánta información quedará incluida en el modelo digital? ¿Qué clase y cuántas ontologías deberían ser elegidas para permitir una transmisibilidad aceptable? De hecho, la comunicación arqueológica debe ser entendida como una fase de validación de todo el proceso cognitivo de comprensión del conocimiento, y no como una simple adición a la investigación, o como un compendio de los datos prescindible.The Virtual Museum of the Ancient Via Flaminia was supported by Arcus spa and managed by CNR-ITABC (scientific direction) and National Roman Museum in RomeForte, M. (2011). Cyber-Archaeology: Notes on the simulation of the past. 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Using Virtual Reality and Remotely Sensed Data to Explore Object Identity and Embodiment in a Virtual Mayan City

3D visualization, LiDAR (Light Detection and Ranging), and 3D modeling are not new concepts in archaeology, however when combined they represent a growing body of research that seeks to understand both how these tools can help us to study the people of the past, and the past itself. Recently, archaeologists have been creating large amounts of 3D digital assets because of new and more advanced technologies. Along with these digital assets has come a myriad of single object viewers—both web and desktop based. These platforms specifically focus on visualizing individual objects (i.e., artifacts or buildings). In contrast, 3DGIS and Virtual Reality (VR) software employ recreated landscapes with multiple 3D objects rather than single 3D models. The MayaCityBuilder Project (http://mayacitybuilder.org) employs Geographic Information Systems (GIS) and LIDAR data to simulate the ancient Maya city of Copan in a virtual space for immersive exploration. Using this environment as a virtual lattice, we embed object data into the actual simulated space of Copan, which users can explore using a virtual reality headset. I propose that such an environment allows us to explore the concept of object identity. Wherein the “objects” in the environment (i.e. 3D models of both remotely sensed extant objects and reconstructed buildings) are immersively evaluated by users who can better perceive the relationships between themselves and the “objects” with which they are interacting; resulting in insights that can push archaeological inquiry in new directions. Further, applying such an approach opens the door for 3D data reuse providing a platform that serves a unique database structure holding intuitive and perceptual data. In order to test these ideas, I embed multiple kinds of 3D models into the Copan VR platform and use the relationships between both the environment and the objects to explain object identity. Advisor: Heather Richards-Rissett

Virtual Reality applications for visualization of 6000-year-old Neolithic graves from Lenzburg (Switzerland)

The last decade has seen a steady increase in the application of virtual 3D approaches in cultural heritage research. Although a large literature exists about the advantages of 3D methods in this field, here we go one step further and elucidate a) how image-based 3D reconstructions can be displayed in virtual reality (VR) space using freeware game engine software and low-cost VR hardware and b) highlight the relative benefits and advantages with a focus on interactive museum displays of relatively large archaeological objects. Specifically, we present three 3D models of different stone grave structures from the Neolithic necropolis of Lenzburg (Northern Switzerland, 4450-3500 BCE). The site has been excavated in 1959/60 and certain graves were subsequently preserved for museum display. By means of VR applications, it is now possible to experience these approximately 6000-year-old tombs with an innovative approach circumventing various barriers or constraints and offering interactive display options

Industry 4.0: Is it time for interaction design craftsmanship?

The technological innovation of Industry4.0 opens up new possibilities for bespoke and unique designs all rooted in the same technology and supported by the same services. Taken together, Cyber-Physical Systems, Cloud Computing and Internet of Things offer a neutral platform for the creation of hybrid digital physical objects. The economy of scale is reached by sharing the same technology across different projects and potentially very different domains. This vision is illustrated by the work done in the meSch project and its platform for the production of novel interactive experiences in museums. Six installations designed by recombining the same electronic components and the same services are used as a case study. They show how the meSch platform is aligned with Industry4.0 principles of enabling dynamic composition, supporting distributed production, and monitoring use for service improvement. As a platform it supports single-piece production and empowers designers to create bespoke solutions with the same technological core

2.2. The Things We Can Do with Pictures: Image-Based Modeling and Archaeology

Since the wide-spread availability of cost efficient image-based modeling software emerged five years ago, the discipline of archaeology has seen a proliferation of all things digital. The implementation of 3D modeling specifically is well attested as evidenced initially by a wave of peer-reviewed studies testing the technology for archaeological purposes, which has then been followed by colloquia, conferences panels, workshops, and publications focusing on the technology’s analytical benefits. It remains evident that although digital archaeology is not a new development, it now has a heretofore unpresented degree of staying power. The intention here is to present a critical analysis of the technology by drawing on a set of field applications that highlight how this technology continues to transform the discipline through a diverse set of methodological and interpretive frameworks.https://dc.uwm.edu/arthist_mobilizingthepast/1010/thumbnail.jp

Ceramic composition at Chalcolithic Shiqmim, northern Negev desert, Israel: investigating technology and provenance using thin section petrography, instrumental geochemistry and calcareous nannofossils

Technological innovations in ceramic production and other crafts are hallmarks of the Chalcolithic period (4500–3600 BCE) in the southern Levant, but details of manufacturing traditions have not been fully investigated using the range of analytical methods currently available. This paper presents results of a compositional study of 51 sherds of ceramic churns and other pottery types from the Chalcolithic site of Shiqmim in the northern Negev desert. By applying complementary thin section petrography, instrumental geochemistry and calcareous nannofossil analyses, connections between the raw materials, clay paste recipes and vessel forms of the selected ceramic samples are explored and documented. The study indicates that steps in ceramic manufacturing can be related to both technological choices and local geology. Detailed reporting of the resulting data facilitates future comparative ceramic compositional research that is needed as a basis for testable regional syntheses and to better resolve networks of trade/exchange and social group movement

Digital sculpting for historical representation: Neville tomb case study

Despite digital 3-D polygon modelling applications providing a common and powerful tool-set for archaeological, architectural and historical visualisation over recent years, the relatively recent developments in high-resolution sculpting software allow for the possibility to create digital outcomes with a degree of surface fidelity not previously obtainable from the more widely used poly-modelling software packages. Such digital sculpting applications are more commonly applied within the video games and TV/motion picture industries, the intention of this paper is to show how such tools and methodologies together with existing scanned data and some historical knowledge can remediate and re-imagine lost sculptural form. The intended research will focus on an examination and partial re-construction of the tomb of Sir John Neville, 3rd Baron Raby located at Durham Cathedral, County Durham UK

Value, Authority and the Open Society. Some Implications for Digital and Online Archaeology

This paper argues that two major related trends -- the now substantial circulation of digital archaeological datasets and the increasing number of ways in which people engage with archaeology via online media -- should encourage us to reassess what value we and others wish to place on the past, how we share archaeological information and what kinds of archaeological communities we wish to promote. One useful approach to these questions is via social anthropological theory that addresses valuation, authority and the structuring of inter-personal relationships. Understanding the degree to which these features of social life are, or are not, transformed by new digital communication technologies also helps us to re-conceptualise archaeological communication with new priorities and opportunities in mind. This paper explores these ideas further via two case studies involving the sharing of spatial or spatio-temporal knowledge: (a) open data and open source software for spatial analysis, and (b) neogeography and geocaching

A Prototype that Fuses Virtual Reality, Robots, and Social Networks to Create a New Cyber–Physical–Social Eco-Society System for Cultural Heritage

With the rapid development of technology and the increasing use of social networks, many opportunities for the design and deployment of interconnected systems arise that could enable a paradigm shift in the ways we interact with cultural heritage. The project described in this paper aims to create a new type of conceptually led environment, a kind of Cyber−Physical−Social Eco-Society (CPSeS) system that would seamlessly blend the real with virtual worlds interactively using Virtual Reality, Robots, and Social Networking technologies, engendered by humans’ interactions and intentions. The project seeks to develop new methods of engaging the current generation of museum visitors, who are influenced by their exposure to modern technology such as social media, smart phones, Internet of Things, smart devices, and visual games, by providing a unique experience of exploring and interacting with real and virtual worlds simultaneously. The research envisions a system that connects visitors to events and/or objects separated either in time or in space, or both, providing social meeting points between them. To demonstrate the attributes of the proposed system, a Virtual Museum scenario has been chosen. The following pages will describe the RoboSHU: Virtual Museum prototype, its capabilities and features, and present a generic development framework that will also be applicable to other contexts and sociospatial domains