Dal 2015 l’Università di Padova ha avviato una serie di campagne di scavo e di prospezioni geofisiche ad Aquileia nell’area archeologica dei fondi ex Comelli-Moro, grazie alle quali è stato possibile stabilire con precisione l’esatta ubicazione del teatro romano e conoscere le fasi di vita successive al suo utilizzo originario. In questo contributo verranno presentati alcuni risultati preliminari riferibili alla fase di rioccupazione dell’antico edificio romano. In particolare, grazie ad un approccio multidisciplinare, è stato possibile documentare alcune strutture pirotecnologiche e indicatori riferibili alla lavorazione secondaria del ferro (secondary smithing) localizzati all’interno di alcuni vani sostruttivi. Allo stato attuale delle ricerche è certo che questa rioccupazione artigianale non sia “episodica” ma che si sia prolungata nel tempo, e che si debba collocare in età tardoantica, senza però poter ancora giungere a precisazioni cronologiche puntuali. In futuro, grazie alla prosecuzione dello scavo e dello studio delle evidenze si potranno ricavare interessanti spunti di riflessione mettendo in relazione le attestazioni del teatro con le vicende storico-archeologiche dello stesso impianto urbano aquileiese, caratterizzate in questa fase da vari fenomeni di destrutturazione alla base dello sviluppo della futura città altomedievale.
The Swat valley (Pakistan) has always been considered an important center of Gandhara art. Due to the unfavourable conditions, this artistic phenomenon has long been almost ignored or underestimated, but its documentation is essential for study the symbolism of the figures, their spatial organization, their stylistic variation and their conservative state. The methodology proposed in this project starts form the 3D acquisition with a structured light system in order to obtain a 3D high resolution model of Buddhist carved rock sculpture. From the 3D geometry, The Digital Elevation Model is produced. This DEM is the starting points for the surface analysis using Remote Sensing approaches for classify landforms using pattern recognition. The surface is considered as a landscape, where carved are valleys bordered by slopes and crests. Hillshading, slope analysis and geomorphons are used in order to highlight the surface feature, to “read” all the details not visible due to the bad condition and to map surface state of conservation.
Nowadays the worldwide application of computer-based visualisation in the field of archaeological heritage may be described as full of "lights and shadows". The spectacular growth of cultural tourism and the amazing technological advances in recent years have led to the development and implementation of a myriad of projects to investigate, preserve, interpret and present various elements of archaeological heritage using computer-based visualisation.
Il presente contributo si pone come obiettivo la descrizione di un lavoro di sviluppo di un serious game finalizzato alla diffusione della conoscenza in ambito archeologico. Negli ultimi decenni i video-giochi educativi, o serious games, sono diventati un’importante forma di coinvolgimento degli studenti in diversi ambiti didattici: in particolare alcuni di questi hanno dimostrato, nell’ambito dell’insegnamento di materie storiche, un grande potenziale nel comunicare le forme tangibili e intangibili del patrimonio culturale. Il caso in esame propone una prima fase del gioco che ha come oggetto la ricostruzione del Tempio G di Selinunte, partendo dallo stato attuale dei ruderi, oggetto di rilievo topografico e laser, fino alla riconfigurazione di una prima parte del colonnato. Dopo un test da effettuare con studenti delle scuole superiori, si passerà all’elaborazione delle fasi successive, avendo come obiettivo la ricostruzione del tempio nella sua configurazione definitiva.
With basis in a qualitative player study, this paper presents different player attitudes concerning user interface elements. The paper focuses on how the game user interface influences the players’ involvement in the game, and how the players navigate between different sources of involvement. We argue that there is no necessary connection between a transparent interface and involvement, and that in many cases, overlay interfaces are preferred due to the clear information they present. With point of departure in Ermi & Mäyra’s (2005) view of player involvement as a complex phenomenon, and Jørgensen’s (2010; forthcoming) research into the relationship between game user interfaces and the gameworld, we discuss how players in our qualitative study see involvement with respect to how the game UI is presented. This framework also enables us to discuss user interface design as a balancing act between aesthetics and mechanics, as the choice between transparent or superimposed interface features is a way to represent system information within the game context.
Lo scavo di quello che oggi è stato riconosciuto come il limite S della piazza forense, repubblicana ed augustea, della città è iniziato nel corso del 2000 e si è protratto continuativamente fino al 2005, con un Saggio realizzato anche nel corso del 2012, ottenendo risultati significativi proprio in relazione alle prime fasi di vita del centro urbano.
Digitization of Cultural and Museum Heritage represents one of the most engaging challenges that would ensure a sustainable and ethical approach for next generations; digital technology’s pervasiveness imposes a comprehensive management of architectural heritage by producing facsimiles of buildings and artworks and by testing robust methodologies, with the final result of providing effective multipurpose models. In this context, the main goal of the present paper is to develop a semantically aware HBIM model that includes an intelligent objects parametrization, leveraging Extended Reality (XR) technologies and digital curation of contents to pursue the preservation of Cultural Heritage (CH) as a whole. This research is implemented in the case study of the Ducal Palace of Urbino that houses the National Gallery of Marche. It was chosen as a remarkable example of a museum located in an architectural complex with a relevant historical background and fine detail of shapes and mouldings. In Italy, as in other European scenarios, museums and their collections need suitable dissemination and management systems that take advantage of the recent digital paradigms. The challenging approach is to exploit existing platforms and software and to adopt a cognitive modelling process, able to develop tools supporting managers and museum curators while enabling user experiences using immersive and interactive features. In order to stress the workflow, this work proposes the use of families with high Level of Detail (LOD) and high Level of Information (LOI). The present article provides, as well, an accurate data enrichment process specifically designed for a gallery’s artworks such as paintings and sculptures, in line with the national and international policies. The study presents a robust and reproducible methodology for digital musealization and management, focusing, as future overall objectives, towards a greater merging between the HBIM approach and XR technologies, also facilitated by training new professional figures with more in-depth digital skills.
Mobile audio-guides are currently being used in museums to enhance the visitors’ experience. Over the past few years, some Augmented Reality (AR) solutions have been explored in this context, making it possible to provide augmented visual and sonic stimuli through the use of smartphones. However, the special conditions of museums (e.g. artificial markers cannot be used, small, crowded rooms, etc.) and the limited computational capacity of smartphones mean that there are important restrictions in the use of this technology. In this paper we introduce a novel mobile augmented guide for the Casa Batlló museum (Barcelona, Spain) which is based on a combination of traditional and indirect AR. Through the proposed solution, we further explore the use of indirect AR for the interior of buildings as, at present, this technology is usually used for outdoor environments. The developed application is currently being used by Casa Batlló visitors. Retrieval of user experience shows some of the benefits of the proposed solution and opens the door for other similar solutions in museums.
Realistic rendering techniques of outdoor Augmented Reality (AR) has been an attractive topic since the last two decades considering the sizeable amount of publications in computer graphics. Realistic virtual objects in outdoor rendering AR systems require sophisticated effects such as: shadows, daylight and interactions between sky colours and virtual as well as real objects. A few realistic rendering techniques have been designed to overcome this obstacle, most of which are related to non real-time rendering. However, the problem still remains, especially in outdoor rendering. This paper proposed a much newer, unique technique to achieve realistic real-time outdoor rendering, while taking into account the interaction between sky colours and objects in AR systems with respect to shadows in any specific location, date and time. This approach involves three main phases, which cover different outdoor AR rendering requirements. Firstly, sky colour was generated with respect to the position of the sun. Second step involves the shadow generation algorithm, Z-Partitioning: Gaussian and Fog Shadow Maps (Z-GaF Shadow Maps). Lastly, a technique to integrate sky colours and shadows through its effects on virtual objects in the AR system, is introduced. The experimental results reveal that the proposed technique has significantly improved the realism of real-time outdoor AR rendering, thus solving the problem of realistic AR systems.
In augmented reality, one of key tasks to achieve a convincing visual appearance consistency between virtual objects and video scenes is to have a coherent illumination along the whole sequence. As outdoor illumination is largely dependent on the weather, the lighting condition may change from frame to frame. In this paper, we propose a full image-based approach for online tracking of outdoor illumination variations from videos captured with moving cameras. Our key idea is to estimate the relative intensities of sunlight and skylight via a sparse set of planar feature-points extracted from each frame. To address the inevitable feature misalignments, a set of constraints are introduced to select the most reliable ones. Exploiting the spatial and temporal coherence of illumination, the relative intensities of sunlight and skylight are finally estimated by using an optimization process. We validate our technique on a set of real-life videos and show that the results with our estimations are visually coherent along the video sequences.
Archaeological excavations provide us with important clues about the past. Excavated artefacts represent an important connection to civilisations that no longer exist and help us understand some of their customs, traditions and common practices. With the help of academics and practitioners from various disciplines, the results of archaeological excavations can be analysed and a body of knowledge about the corresponding society can be created and shared with members of the general public. Museums have traditionally served the purpose of communicating this knowledge and backing it up with the help of the excavated artefacts. Many museum visitors, however, find it difficult to develop a coherent understanding of the corresponding society only based on the artefacts and annotations shown in museums. Effective modern techniques that have high potential in helping museum visitors with better understanding of the past are 3D reconstruction and virtual reality. 3D reconstruction offers a cost-effective way of recreating historical settlements in a computer-generated virtual environment, while virtual reality helps with immersing people into such environments and reaching a high degree of realism. With the help of these technologies, it becomes possible to relive history, imagine yourself being a part of the reconstructed society and learn about its culture firsthand. The combination of 3D reconstruction and virtual reality represents a very powerful learning tool; however, this tool has been rarely used in a museum setting and its correct use has not been properly investigated. In this paper, we present a study into using virtual reality in itinerant archaeological exhibitions. We discuss the lessons we have learned from developing an interactive virtual reality simulation of the Neolithic settlement of La Draga. These lessons feature our analysis of qualitative and quantitative feedback of museum visitors, as well as what we have learned from analysing their navigation and interaction patterns.
This review examines the discourses and practices that have produced a lively literature on museum decolonization created by scholars of museum practices and curators. We consider the trajectory of decolonization efforts in museums, focusing especially on the care of Native North American heritage, with comparison to similar trajectories internationally. We begin with a discussion of decolonizing moments in theory and practice, with particular attention to 1990s critique of ethnographic museums and developments after the passage of the Native American Graves Protection and Repatriation Act (NAGPRA). Following this discussion is a review of works on concerns regarding Native American representation and public displays, involvement in collections care, and the varied collaborations that are changing museum practices. The final section foregrounds the fluorescence of tribal museums and their contributions to the decolonization and indigenization of museums, as well as emerging paradigm shifts in both the anthropology of museums and anthropology in museums.
This article aims to assist readers in understanding the current status of studies on the subject by providing a descriptive bibliometric analysis of publications on virtual reality (VR), augmented reality (AR), and mixed reality (MR) technologies in cultural heritage. A bibliometric analysis of 1214 publications in this discipline in the Scopus database between 2014 and the beginning of June 2024 was performed. We used VOSviewer and Bibliometrix as the analysis tools in this investigation. The outcome of this study provides a detailed overview of the descriptive bibliometric analysis based on seven categories, including the annual count of articles and citations, the most productive author, the primary affiliation, the publication source, and the subject areas. The contribution of this research lies in offering valuable insights for practitioners and researchers, helping them make informed decisions on the use of immersive technologies, for example, VR, AR, and MR, in the context of cultural heritage.
Achieving seamless integration between virtual objects and real scenes has always been an important issue in augmented reality (AR) research. To achieve this, it is necessary to provide virtual objects with real-time and accurate lighting conditions from a real scene. Therefore, the purpose of this study is to realize lighting consistency rendering for real-time AR systems in outdoor environments, aiming to enhance the user’s sense of immersion. In this paper, we propose a lighting consistency technique for real-time AR systems in outdoor environments based on multi-source geographical information (MGI). Specifically, we introduce MGI into the study of lighting consistency and construct a comprehensive database to store and manage the acquired MGI data. Based on this, we proposed a sky radiance model driven using the MGI. Finally, we utilized the sky radiance model along with light sensor data to render the virtual objects in outdoor scenes. The experimental results show that the shadow angular error is reduced to 5.2°, and the system frame rate is increased to 94.26. This means that our method achieves a high level of realism in the fusion of virtual objects and real scenes while ensuring a high frame rate in the system. With this technology, users can conveniently and extensively realize the lighting consistency rendering of real-time AR systems in outdoor scenes using mobile devices.
Traditional crafts exhibit tangible and intangible dimensions. Intangible dimensions include the practitioner’s gestural know-how in craft practice and have received smaller attention than tangible dimensions in digitization projects. This work presents the process of representation and presentation of the glasswork and is exemplified in the re-creation of a historical object. Following an articulated pipeline approach for data collection, annotation, the crafting process is represented visually and semantically in a way that can be meaningfully presented and utilized in craft training and preservation. The outcomes of the proposed approach were used to implement a Mixed Reality installation. The installation targets craft presentation through an exploration of the workspace, as well as craft training through an interactive experience where users re-enact gestures of a glass master holding a tool and receiving audiovisual feedback on the accuracy of their performance. Preliminary evaluation results show high acceptance of the installation and increased user interest.
Il libro affronta il tema della metodologia archeologica utile alla ricostruzione dei paesaggi del passato, attraverso lo studio di contesti geografici di diversa estensione. Rivolto agli studenti di archeologia, il libro intende fornire una sorta di introduzione ragionata ai modi di approccio alle forme dei paesaggi antichi, alle procedure utilizzate, alle tecnologie di indagine e di elaborazione. Il testo passa in rassegna aspetti e temi diversi della pratica archeologica: le tipologie delle fonti da utilizzare, la scelta del contesto geografico-storico, la ricognizione del terreno come procedura di acquisizione di masse critiche di dati nuovi, la elaborazione e trasformazione dei dati in informazione archeologica, la loro visualizzazione cartografica. I capitoli conclusivi sono dedicati all'interpretazione degli insediamenti, al delicato rapporto fra archeologia e geografia umana, alla illustrazione sintetica di casi di studio e di ricostruzione di paesaggi del passato.
Modern museum practice embraces equal access for all, but access for blind and partially-sighted (BPS) audience remains problematic given the ocularcentricity of museums. Many museum professionals and BPS visitors remain frustrated by the degree of accessibility on offer. The use of 3-D printed replicas as a handling surrogate represents a solution, allowing BPS visitors to engage tactually with museum content while minimizing risk. However, the design of such replicas is poorly researched. This exploratory examination of the design of 3-D printed replicas utilizes semi-structured interviews, sensory observations and content analysis to examine BPS perceptions of museum objects in the absence of interpretational support. Interpretation was dominantly multisensory, while participants found it easier to determine material traits than object traits, with textual, geometrical and optical properties being of use. Assistive approaches rather than major alterations were favored. Overall, museum professionals should consider how the process of 3-D printing influences BPS perception. (PsycInfo Database Record (c) 2022 APA, all rights reserved)
